Winter Program 2018
wine country cuisine in the heart of the Historic Arts District Fresh, local ingredients, prepared with care. Excellent wines that reflect the quality and character of our region and work in concert with the cuisine. Warm, inviting ambience with engaging service at a relaxed, leisurely pace. This is bouchon.
dinner nightly Sunday-Thursday 5-9pm | Friday-Saturday 5-10pm
bouchon 9 west victoria street
|
805.730.1160
|
bouchonsantabarbara.com
Behind every great community is a great bank.™
BEST OF THE VALLEY
2017 Bank of the Year - Western Independent Bankers
Personal. Business. Nonprofit. Wealth.
montecito.bank
Photo: Nell Campbell
Education is the first step. The SBCC Promise removes financial barriers to ensure that all local high school graduates have access to an outstanding and affordable education at Santa Barbara City College.
Your gift makes the SBCC Promise possible.
sbccpromise.org | (805) 730- 4416
engaged scholarship lies at the heart of any healthy society
Dear Arts & Lectures’ Friends, I’m pleased you’ve joined us tonight, as we throw open the doors on 2018 with more of our signature events, featuring stunning contemporary dance and top-flight entertainers side-by-side with bestselling authors and global thinkers. Launching 2018 with the masterful Chris Thile (Jan 7) – he’s been called “the Elvis of the mandolin” – calls to mind his incredible performance last May with Yo-Yo Ma and Edgar Meyer. In this way many of our program choices build on the memories we’ve created and the dialogue we have worked hard to encourage around topics critical to life as a community. If you were inspired by former Vice President Joe Biden last October, then you won’t want to miss our 66th U.S. Secretary of State, Condoleezza Rice (Jan 25). She is one of many former Secretaries of State we’ve been honored to host, including Colin Powell, Madeleine Albright and Robert Gates. If you or your children were left open-mouthed and wide-eyed by Cirque Éloize (Feb 7) in Cirkopolis, then you know that the troupe’s new show Saloon will be a knockout. Likewise Cameron Carpenter (Feb 12) – when he made his Santa Barbara debut two years ago, many of you bought tickets not knowing what to expect, and now he’s back by popular demand. And playwright Tony Kushner returns with author Sarah Vowell (Feb 20) to rethink Abraham Lincoln – whom we never tire of discussing. But our mission is also to bring you fresh perspectives, so we are not only presenting author Matthew Desmond (Feb 22) on stage, we are distributing 200 free copies of his acclaimed book Evicted: Poverty and Profit in the American City (you can pick up a copy at the A&L Ticket Office or the Santa Barbara Central Library). And I am very proud to close the winter season with the Santa Barbara debut of Spain’s Compañía Nacional de Danza (Mar 6 & 7) in two nights of the brilliant choreographer Johan Inger’s Carmen, a contemporary dance masterpiece. This will change how you think about dance! Please join me in thanking our sponsors, contributors and subscribers, all of whom come together to make these visions a reality. Again, thank you for joining us tonight. I hope I will see you often this winter. With deepest appreciation,
Celesta M. Billeci Miller McCune Executive Director
Thematic Learning Initiative Transform your life. Transform your community. Arts & Lectures’ Thematic Learning Initiative extends the conversation from the stage into the community, inspiring lifelong learning opportunities that initiate change and empowerment. Join A&L and other knowledge seekers like you who want to learn more, know more and do more to improve ourselves and the world around us.
2017-2018 Themes:
Creating a Meaningful Life
Our Changing World
Jan 11 Q&A with BJ Miller, M.D.: How Can We Rethink Our Perspective on End of Life Care? 3 PM / Unitarian Society of Santa Barbara, Parish Hall, 1535 Santa Barbara St* Related Event: BJ Miller in conversation with Pico Iyer, Jan 11 (p.11) Jan 25 History Book Club Discussion: American Heiress: The Wild Saga of
the Kidnapping, Crimes and Trial of Patty Hearst by Jeffrey Toobin
10:30 AM / Santa Barbara Central Library*
Related Event: Jeffrey Toobin public lecture, Jan 29 (p. 19)
Feb 13 Cameron Carpenter Meet-the-Artist Visit www.Thematic-Learning.org for details
Related Event: Cameron Carpenter performs Feb 12 (p. 33)
Feb 13 Q&A with Seth Stephens-Davidowitz: All the World’s
a Lab - Analyzing Data to Discover What Customers Want
3 PM / Carrillo Recreation Center Ballroom, 100 E Carrillo St*
Feb 13 Seth Stephens-Davidowitz Public Lecture: Everybody Lies: Big Data, New Data, and
What the Internet Can Tell Us About Who You Really Are
7:30 PM / Campbell Hall (p. 42)
Feb 22 History Book Club Discussion: Lafayette in the
Somewhat United States by Sarah Vowell
10:30 AM / Santa Barbara Central Library*
Related Event: Sarah Vowell & Tony Kushner in conversation, Feb 20 (p. 43)
Mar 5 Film: An American Conscience: The Reinhold Niebuhr Story 4 PM / Santa Barbara Central Library* Apr 5 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
* Registration recommended. For registration links go to www.Thematic-Learning.org
8
@ArtsAndLectures
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!
What does it cost? It's FREE!
How do I participate?
Visit www.Thematic-Learning.org to join the conversation, view online tool kits and learn about upcoming events and activities.
Get Involved!
Email TLI@ArtsAndLectures.UCSB.edu to start receiving Thematic Learning Initiative information and resources.
Pico Iyer with Krista Tippett, host of On Being (top), and Colson Whitehead, author of The Underground Railroad (bottom), connect with community members
Winter 2018 Thematic Learning Initiative Book Selection
Each quarter, we select a book written by an upcoming A&L speaker that expands upon one of the season’s themes, and provide free copies for the community. “A deeply humanizing and empathetic book about poverty… Its influence on housing experts has been enormous.” Slate
FREE copies of Matthew Desmond’s Evicted will be available beginning Jan 8 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 Desmond’s Feb 22 public lecture at Campbell Hall available now (see p. 48).
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 & Program Advisor Bruce Heavin with presidential historian Jon Meacham
www.Thematic-Learning.org
9
An Evening with
Chris Thile Sun, Jan 7 / 7 PM / Campbell Hall Post-performance Leadership Circle reception
Program will be announced from the stage
Sponsored in part by Lisa & Christopher Lloyd Multiple Grammy Award winner and MacArthur Fellow Chris Thile, a member of Punch Brothers and Nickel Creek and now the host of Live From Here, formerly A Prairie Home Companion, is a mandolin virtuoso, composer and vocalist. With his broad outlook that encompasses classical, rock, jazz and bluegrass, Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic for performers and audiences alike. A child prodigy, Thile first rose to fame as a member of Grammy Award-winning trio Nickel Creek, with whom he released four albums and sold more than two million records. In 2014, along with a national tour, the trio released a new album, A Dotted Line, their first since 2005. As a soloist, Thile has released several albums including his most recent, Thanks for Listening, a collection of recordings, produced by Thomas Bartlett, originally written as Songs of the Week for A Prairie Home Companion and
10
Bach: Sonatas and Partitas, Vol.1, which was produced by renowned bassist Edgar Meyer. In February 2013, Thile won a Grammy for his work on The Goat Rodeo Sessions, collaborating with Yo-Yo Ma, Edgar Meyer, and Stuart Duncan. In September 2014, Thile and Meyer released their latest album collaboration, Bass + Mandolin, which won the Grammy for Best Contemporary Instrumental Album. Punch Brothers released their latest album, The Phosphorescent Blues, in January 2015, and a follow up EP, The Wireless, in November of the same year. Thile released a double-album with Brad Mehldau, titled Chris Thile & Brad Mehldau, in January 2017 and a collection of works from Bach with Yo-Yo Ma and Edgar Meyer in April 2017 called Bach Trios. Special thanks to
@ArtsAndLectures
BJ Miller, M.D. In Conversation with Pico Iyer
photo: Todd Hido
Thu, Jan 11 / 7:30 PM / Campbell Hall
Event Sponsors: Dorothy Largay & Wayne Rosing Presented in association with Cottage Health Corporate Sponsor: Related Thematic Learning Initiative Event (see page 8)
BJ Miller, M.D. Dr. BJ Miller is a hospice and palliative medicine physician. He sees patients and families at the UCSF Helen Diller Family Comprehensive Cancer Center, where he also teaches and serves on faculty. Miller also consults at the intersection of palliative care and design and frequently speaks publicly on this topic. His interests are in working across disciplines to affect broad-based cultural change and in cultivating a civic model for aging and dying. He and his co-author, Shoshana Berger, are currently writing a manual for preparing for death that will be a highly practical and provocative guide to navigating dying in contemporary American society.
Following undergraduate studies in art history at Princeton, Miller received his MD from University of California San Francisco as a Regents’ Scholar and completed his internal medicine residency at Cottage Hospital in Santa Barbara, California, where he served as chief resident. He completed a fellowship in hospice and palliative medicine at Harvard Medical School, with clinical duties split between Massachusetts General Hospital and DanaFarber Cancer Institute.
His 2015 TED Talk “Not Whether But How” (also known as “What Matters Most at the End of Life”), a reflection of his vision to make empathic palliative care available to all, ranked among the Top 15 Most Viewed Talks of the year. Miller continues to speak internationally on topics including perspective making, aesthetics and palliative care.
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.
Miller invites us to think about and discuss the ends of our lives through the lens of a mindful, human-centered model of care, one that embraces dying not as a medical event but rather as a universally shared life experience. Informed by his own experiences as a patient, Miller powerfully advocates the roles of our senses, community and presence in designing a better ending. Miller brings a unique blend of training, experience and commitment to furthering the message that suffering and dying are fundamental and intrinsic aspects of life, and is widely recognized for his efforts to cultivate a larger dialogue about this universal human experience.
Pico Iyer
Special thanks to
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
11
Reza Aslan
God: A Human History
photo: Peter Konerko
Thu, Jan 18 / 7:30 PM / Campbell Hall
Co-presented with the Walter H. Capps Center for the Study of Ethics, Religion and Public Life and the UCSB Department of Religious Studies
Reza Aslan is an internationally renowned writer, commentator, professor, producer and scholar of religions. His books, including his No. 1 New York Times bestseller, Zealot: The Life and Times of Jesus of Nazareth, have been translated into dozens of languages around the world. He is also a recipient of the prestigious James Joyce Award. In addition to his role as a consulting producer on the acclaimed HBO series The Leftovers, Aslan is also the host and executive producer of two other original television programs: Rough Draft with Reza Aslan (premiered on Ovation) and CNN’s documentary series, Believer. He also served as an executive producer on the ABC drama Of Kings and Prophets and on the Emmy Award-nominated documentary series The Secret Life of Muslims. Aslan’s first book, international bestseller No god but God: The Origins, Evolution and Future of Islam, has been translated into 17 languages and was named one of the 100 most important books of the last decade by Blackwell Publishers. He is also the author of Beyond Fundamentalism: Confronting Religious Extremism in a Globalized Age (originally titled How to Win a Cosmic War) as well as editor of two volumes: Tablet and Pen: Literary Landscapes from the Modern Middle East and Muslims and Jews in America: Commonalties, Contentions and Complexities. Aslan’s degrees include a Bachelor of Arts in Religious Studies from Santa Clara University (major focus: New Testament; minor: Greek), a Master of Theological Studies from Harvard University (major focus: History of Religions), a doctorate in the Sociology of Religions from the University
12
of California, Santa Barbara, and a Master of Fine Arts from the University of Iowa, where he was named the Truman Capote Fellow in Fiction. An Adjunct Senior Fellow at the Council on Foreign Relations, he is also a member of the Los Angeles Institute for the Humanities and the Pacific Council on International Policy. He serves on the board of directors of the Ploughshares Fund, which gives grants for peace and security issues; Narrative 4, which connects people through the exchange of stories; PEN USA, which champions the rights of writers under siege around the world; the Los Angeles Review of Books; and the Levantine Cultural Center, which builds bridges between Americans and the Arab/ Muslim world through the arts. Aslan is a tenured professor of creative writing at the University of California, Riverside, and serves on the board of trustees for the Chicago Theological Seminary and the Yale Humanist Community, which supports atheists, agnostics and humanists at home and abroad. A member of the American Academy of Religions, the Society of Biblical Literature and the International Qur'anic Studies Association, Aslan’s previous academic positions include the Wallerstein Distinguished Professor of Religion, Community and Conflict at Drew University in New Jersey (2012-2013) and Visiting Assistant Professor of Religion at the University of Iowa (2000-2003). Books are available for purchase in the lobby and a signing follows the event
@ArtsAndLectures
An Evening of Stand-up with
Trevor Noah
photo: Paul Mobley
Fri, Jan 19 / 8 PM / Arlington Theatre
Trevor Noah is the most successful comedian in Africa and is the host of the Emmy and Peabody Award-winning The Daily Show on Comedy Central. This year, The Daily Show was nominated for a Writers Guild Award (Comedy/ Variety Series) as well as two NAACP Image Awards for Outstanding Talk Series and Outstanding Host in Talk or News/Information Show. Noah also recently won Best Host at the 2017 MTV Movie & TV Awards as well as a Creative Arts Emmy Award for Outstanding Short Form Variety Series for his hosting role on The Daily Show – Between the Scenes. He joined The Daily Show with Jon Stewart in 2014 as a contributor. In February 2017, Noah debuted his ninth comedy special, Afraid of the Dark, on Netflix. The special was shot before a packed house in New York City at the Beacon Theatre. In 2016, Noah debuted his one-hour stand-up special, Trevor Noah: Lost in Translation, on Comedy Central. Noah was the subject of David Paul Meyer’s award-winning documentary film You Laugh But It’s True, which tells the story of his remarkable career in post-apartheid South Africa. His Showtime comedy special, Trevor Noah: African American, premiered in 2013. He was nominated for Personality of the Year at the 2014 and 2015 MTV Africa Music Awards and won the award in 2015. Noah’s success has also spanned to sold-out shows on more than five continents. Born in South Africa to a black South African mother and a white European father, Noah has hosted numerous television shows, including South Africa’s music, television and film awards and two seasons of his own late night talk show, Tonight with Trevor Noah.
In November 2016, Trevor released his first book, Born a Crime: Stories from a South African Childhood, which was an instant New York Times bestseller. Additionally, his performance on the Born a Crime audiobook was Audible’s highest rated audiobook of 2016 and has remained one of the top selling titles on Audible since its release. The book also received the Thurber Prize for American Humor and two NAACP Image Awards, one for Outstanding Literary Work by a Debut Author and another for Outstanding Literary Work in the Biography/Auto-biography category. The book is collection of personal stories about growing up in South Africa during the last gasps of apartheid and the tumultuous days of freedom that came with its demise. Already known for his incisive social and political commentary, here Noah turns his focus inward, giving readers an intimate look at the world that shaped him. These are true stories, sometimes dark, occasionally bizarre, frequently tender and always hilarious. The audiobook version performed by Trevor Noah is currently available from Audible Studios. 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
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
13
66th U.S. Secretary of State An Evening with
Condoleezza Rice Thu, Jan 25 / 7:30 PM / Arlington Theatre
Event Sponsors: Ellen & Peter O. Johnson Condoleezza Rice is currently the Denning Professor in Global Business and the Economy at the Stanford Graduate School of Business; the Thomas and Barbara Stephenson senior fellow on public policy at the Hoover Institution; and a professor of political science at Stanford University. She is also a founding partner of RiceHadleyGates, LLC. From January 2005 to 2009, Rice served as the 66th Secretary of State of the United States, the second woman and first African-American woman to hold the post. Rice also served as President George W. Bush’s assistant to the President for national security affairs (National Security Advisor) from January 2001 to 2005, the first woman to hold the position. Rice served as Stanford University’s provost from 1993 to 1999, during which she was the institution’s chief budget and academic officer. As provost, she was responsible for a $1.5 billion annual budget and the academic program involving 1,400 faculty members and 14,000 students. In 1997, she also served on the Federal Advisory Committee on Gender-Integrated Training in the Military. From 1989 through March 1991, Rice served on President George H.W. Bush’s National Security Council staff. She served as director, senior director of Soviet and East European Affairs and special assistant to the President for national security affairs. In 1986, while an international affairs fellow of the Council on Foreign Relations, Rice also served as special assistant to the director of the Joint Chiefs of Staff.
14
As professor of political science, Rice has been on the Stanford faculty since 1981 and has won two of the highest teaching honors – the 1984 Walter J. Gores Award for Excellence in Teaching and the 1993 School of Humanities and Sciences Dean’s Award for Distinguished Teaching. She has authored and co-authored numerous books, including three bestsellers, Democracy: Stories From the Long Road to Freedom (2017), No Higher Honor: A Memoir of My Years in Washington (2011) and Extraordinary, Ordinary People: A Memoir of Family (2010). She also wrote Germany Unified and Europe Transformed: A Study in Statecraft (1995) with Philip Zelikow; The Gorbachev Era (1986) with Alexander Dallin; and Uncertain Allegiance: The Soviet Union and the Czechoslovak Army (1984). In 1991, Rice co-founded the Center for a New Generation (CNG), an innovative after-school academic enrichment program for students in East Palo Alto and East Menlo Park, Calif. In 1996, CNG merged with the Boys and Girls Club of the Peninsula (an affiliate club of the Boys and Girls Clubs of America). CNG has since expanded to local BGCA chapters in Birmingham, Atlanta and Dallas. Rice remains an active proponent of an extended learning day through after-school programs. Since 2009, Rice has served as a founding partner at RiceHadleyGates, LLC, an international strategic consulting firm based in Silicon Valley and Washington, D.C. The firm works with senior executives of major companies to implement strategic plans and expand in emerging markets. Other partners include former National Security
@ArtsAndLectures
Advisor Stephen J. Hadley and former Secretary of Defense Robert M. Gates. Rice currently serves on the boards of Dropbox, an online-storage technology company; C3, an energy software company; and Makena Capital, a private endowment firm. In addition, she is vice chair of the board of governors of the Boys and Girls Clubs of America; a member of the board of the Foundation for Excellence in Education; and a trustee of the Aspen Institute. Previously, Rice served on various additional boards, including those of: the George W. Bush Institute; the Commonwealth Club; KiOR, Inc.; the Chevron Corporation; the Charles Schwab Corporation; the Transamerica Corporation; the HewlettPackard Company; the University of Notre Dame; the John F. Kennedy Center for the Performing Arts; and the San Francisco Symphony Board of Governors. In 2013, Rice was appointed to the College Football Playoff Committee, formerly the Bowl Championship Series. Born in Birmingham, Ala., Rice earned her bachelor’s degree in political science, cum laude and Phi Beta Kappa, from the University of Denver; her master’s degree from the University of Notre Dame; and her Doctor of Philosophy degree from the Graduate School of International Studies at the University of Denver. Rice is a fellow of the American Academy of Arts and Sciences and has been awarded 13 honorary doctorates. She currently resides in Stanford, California. 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
Pre-signed books are available for purchase in the lobby
Upcoming Lectures Jeffrey Toobin Politics, Media and the Law in the Post-Obama Age Mon, Jan 29 / 7:30 PM Campbell Hall Tickets start at $20 $10 UCSB students 2017 Pulitzer Prize Winner for Nonfiction
Matthew Desmond
Evicted: Poverty and Profit in the American City Thu, Feb 22 / 7:30 PM Campbell Hall Tickets start at $20 $10 UCSB students
Robert Sapolsky Behave: The Biology of Humans at Our Best and Worst Tue, Mar 13 / 7:30 PM Campbell Hall Tickets start at $20 $10 UCSB students Pulitzer Prize-winning Author
Anthony Doerr
In Conversation with
Pico Iyer Special thanks to
Thu, May 3 / 7:30 PM Campbell Hall Tickets start at $20 $10 UCSB students Public Lecture Support:
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
15
Pilobolus Maximus Beyond the Limits of Dance
Sun, Jan 28 / 7 PM (note special time) / Granada Theatre
Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay
Executive Producer: Itamar Kubovy Artistic Directors: Renée Jaworski, Matt Kent Dancers: Nathaniel Buchsbaum, Krystal Butler, Isabella Diaz, Zachary Eisenstat, Heather Jeane Favretto, Nile H. Russell, Jacob Michael Warren Creative Director: Mark Fucik Director of Production: Shane Mongar Dance Captains: Heather Jeane Favretto, Nile H. Russell Stage Manager: Lindsay Carter Video Technician: Jaechelle Johnson Lighting Supervisor: Yannick Godts Company Manager: Michael Depp-Hutchinson Stage Ops: Ty Young Director of Programming Initiatives: Lily Binns General Manager / CFO: Daniel Ordower Education & Community Engagement: Emily Kent Senior Company Manager: Kirsten Leon Associate Producer: Jake McIntyre Development Manager: Katie Braja Administrative Assistant: Kayla Prata Technical Director: Toria Gibson Marketing Manager: Brigid Pierce Production Interns: Amanda Taylor & Rebecca Zarb
Program (subject to change) á la B’zyrk (Intro)
Music: Leningrad Costume Design: Liz Prince
Branches (2017)
Created by: Renée Jaworski and Matt Kent in collaboration with Itamar Kubovy, Mark Fucik and Antoine Banks-Sullivan, Nathaniel Buchsbaum, Krystal Butler, Isabella Diaz, Heather Jeane Favretto and Jacob Michael Warren Performed by: Nathaniel Buchsbaum, Krystal Butler, Isabella Diaz, Zachary Eisenstat, Heather Jeane Favretto and Jacob Michael Warren Music: David Van Tiegham, David Darling, Riley Lee, Olivier Messiaen and Bonobo Sound Design: David Van Tiegham Costume Design: Liz Prince Lighting Design: Thom Weaver Branches premiered at Jacob’s Pillow Dance Festival Inside/Out Series, June 21, 2017, and was commissioned by Jacob’s Pillow Dance Festival and the National Endowment for the Arts, which believes a great nation deserves great art.
Major support for Pilobolus Artistic Programming provided by the National Endowment for the Arts, which believes that a great nation deserves great art, and by The Shubert Foundation
16
@ArtsAndLectures
Echo in the Valley (2017)
Created by: Béla Fleck, Abigail Washburn, Renée Jaworski and Matt Kent in collaboration with Itamar Kubovy, Mark Fucik and Nathaniel Buchsbaum, Krystal Butler, Heather Jeane Favretto and Jacob Michael Warren Performed by: Nathaniel Buchsbaum, Krystal Butler, Heather Jeane Favretto and Jacob Michael Warren Composed, Arranged and Performed by: Béla Fleck and Abigail Washburn; Fleck Music (BMI) / Abby In China Music (ASCAP) Sound Design: David Van Tiegham Costume Design: Liz Prince Lighting Design: Thom Weaver Echo in the Valley was commissioned by ADF with support from the SHS foundation and the Reinhart Fund. Echo in the Valley was created through Pilobolus’ International Collaborators Project with support from the National Endowment for the Arts.
- Intermission -
[esc] (2013)
Created by: Penn & Teller, Robby Barnett, Renée Jaworski and Matt Kent in collaboration with Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi and Nile Russell Performed by: Nathaniel Buchsbaum, Isabella Diaz, Zachary Eisenstat, Heather Jeane Favretto, Nile Russell and Jacob Michael Warren Music: Maria Schneider; Raymond Scott; G. Schirmer Inc; The Allman Brothers Band; Johnnyangel; Thomas Bangalter, Guillaume De Homem-Christo; “Come Fly With Me” (words by Sammy Cahn, music by James Van Heusen; “You Shook Me All Night Long” written by Angus Young, Malcolm Young and Brian Johnson; Mudfoot Jones & The Basement Boys Costume Design: Liz Prince Lighting Design: Neil Peter Jampolis Magic Consultant: John Thompson Sound Engineer: William Burns
Rushes (2007)
Choreographed by: Inbal Pinto, Avshalom Pollak and Robby Barnett, based on original material developed with Talia Beck, Otis Cook, Josie M Coyoc, Matt Kent, Renée Jaworski and Andreas Merk and created in collaboration with Andy Herro, Jeffrey Huang, Renée Jaworski, Jun Kuribayashi, Jenny Mendez, Manelich Minniefee, Edwin Olvera and Annika Sheaff Performed by: Nathaniel Buchsbaum, Krystal Butler, Zachary Eisenstat, Heather Jeane Favretto, Nile Russell and Jacob Michael Warren Music: Eddie Sauter, Miles Davis, John Blow, “Big Noise from Winnetka” used by permission Dukes of Dixieland (www.dukesofdixieland.com), Arvo Pärt Costume Design: Avshalom Pollak, Inbal Pinto Lighting Design: Yoann Tivoli Film Animation: Peter Sluszka Rushes was co-commissioned by the American Dance Festival with support from the Doris Duke Awards for New Work and additional funding from the Andrew W. Mellon Foundation; by the Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work; and by Ruth Eckerd Hall, Clearwater, Fla. It was also made possible in part by generous contributions from the Office of Cultural Affairs, Consulate General of Israel in New York and from Jonathan M. Nadler. Rushes was created through Pilobolus’ International Collaborators Project with support from the National Endowment for the Arts.
á la B’zyrk (Outro)
Music: Leningrad Costume Design: Liz Prince
[esc] was commissioned by the American Dance Festival with support from the SHS Foundation and the Charles L. and Stephanie Reinhart Fund. [esc] was created through Pilobolus’ International Collaborators Project with support from the National Endowment for the Arts and the Xerox Foundation.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
17
About the Company Pilobolus is a rebellious dance company. For 45 years, Pilobolus has tested the limits of human physicality to explore the beauty and the power of connected bodies. It continues to bring this tradition to global audiences through post-disciplinary collaborations with some of the greatest influencers, thinkers and creators in the world. Now, in our digitally driven and increasingly mediated landscape, the company also reaches beyond performance to teach people how to connect through designed live experiences. The company brings decades of expertise telling stories with the human form to show diverse communities, brands and organizations how to maximize group creativity, solve problems, create surprise and generate joy through the power of nonverbal communication. Pilobolus has created and toured over 120 pieces of repertory to more than 65 countries, performing for more than 300,000 people around the world each year. In the last year, Pilobolus was featured on The Late Show with Stephen Colbert, NBC’s Today Show, MTV’s Video Music Awards, The Harry Connick Show, ABC’s The Chew and the CW Network’s Penn & Teller: Fool Us. Pilobolus has been recognized with many prestigious honors, including a TED Fellowship, a 2012 Grammy Award nomination, a Primetime Emmy Award for Outstanding Achievement in
Cultural Programming and several Cannes Lion Awards at the International Festival of Creativity. In 2015, Pilobolus was named one of Dance Heritage Coalition’s Irreplaceable Dance Treasures. Pilobolus has collaborated with more than 25 brands and organizations in finance, retail, media, fashion, sports and more to create bespoke performances for television, film and live events. www.pilobolus.org facebook.com/PilobolusDance instagram@Pilobolus twitter@Pilobolus Touring: IMG Artists · +1.212.994.3500 · imgartists.com General inquiries: +1.860.868.0538 · info@pilobolus.org Tour Marketing and Publicity: C Major Marketing, Inc. 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
Compagnie Accrorap/Kader Attou Kader Attou, Artistic Director The Roots “An impressive fusion of hip-hop’s pyrotechnics with contemporary dance elements.” The New York Times
Tue, Feb 6 / 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund, Irma & Morrie Jurkowitz and Barbara Stupay Sponsored in part by the Albert & Elaine Borchard Foundation
18
@ArtsAndLectures
photo: João Garcia
A Granada facility fee will be added to each ticket price
photo: (C) 2014 Cable News Network. A Time Warner Company. All Rights Reserved.
Jeffrey Toobin
Politics, Media and the Law in the Post-Obama Age Mon, Jan 29 / 7:30 PM / Campbell Hall
With support from the Harold & Hester Schoen Arts & Lectures Endowment
Related Thematic Learning Initiative Event (see page 8)
A high-profile senior analyst for CNN and staff writer for The New Yorker, Jeffrey Toobin is one of the country’s most esteemed experts on politics, media and the law. The author of several critically acclaimed bestsellers, Toobin has delved into the historical, political and personal inner workings of the Supreme Court and its justices in his books The Nine: Inside the Secret World of the Supreme Court and The Oath: The Obama White House and the Supreme Court. Toobin’s latest bestselling book, American Heiress: The Wild Saga of the Kidnapping, Crimes and Trial of Patty Hearst, was released to considerable acclaim in August 2016. The book examines the 1974 kidnapping of Patty Hearst, granddaughter of publishing magnate William Randolph Hearst, by the Symbionese Liberation Army. The astonishing, theatrical details of the saga are firmly bound to a tangible reality, aided by more than a hundred interviews and thousands of previously secret documents. The book has been optioned for film by Fox 2000. Toobin is also the author of renowned bestseller Too Close to Call: The 36-Day Battle to Decide the 2000 Election, the definitive story of the Bush-Gore presidential recount and the basis for an HBO movie. With clarity, insight, humor and a deep understanding of the law, Toobin deconstructs the events, the players and the often-Byzantine intricacies of our judicial system, ending up with a remarkable account of one of the most significant periods in our nation’s history.
Toobin joined CNN as a legal analyst in 2002, where he now serves as the senior legal analyst. Also a staff writer for The New Yorker since 1993, he has written articles on such subjects as the Bernie Madoff scandal, the case of Roman Polanski and profiles of Justices Clarence Thomas, Steve Breyer, John Paul Stevens and Chief Justice John Roberts. Prior to joining The New Yorker, Toobin served as an assistant United States attorney in Brooklyn, N.Y. He also served as an associate counsel in the Office of Independent Counsel Lawrence E. Walsh, an experience that provided the basis for his book Opening Arguments: A Lawyer’s First Case: United States v. Oliver North. His other books also take a behind the scenes look at the legal system – A Vast Conspiracy explored the investigation and impeachment of Bill Clinton and The Run of His Life:The People v. O.J. Simpson closely examined the working of the criminal justice system in the O.J. Simpson trial. The Run of His Life was the basis for the mini-series on FX, starring Cuba Gooding, Jr., John Travolta and Sarah Paulson. Toobin received his bachelor’s degree from Harvard College and graduated magna cum laude from Harvard Law School, where he was an editor of the Harvard Law Review. Books are available for purchase in the lobby and a signing follows the event
After a six-year tenure at ABC News, where he covered the country’s highest-profile cases and received a 2000 Emmy Award for his coverage of the Elian Gonzales custody saga,
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
19
José González
with special guest Bedouine
photo: Chad Kamenshine
Wed, Jan 31 / 8 PM / Campbell Hall
José González
Bedouine
A master of minimal melodies and intricate classical guitar accompaniment, José González’s hushed lyrics unearth probing existential meditations. His latest album, Vestiges & Claws, has a unique and quietly visceral power. Like his previous releases, it was recorded largely in his home and partly at Svenska Grammofon Studion, both in Gothenberg, Sweden.
Bedouine is the moniker of Azniv Korkejian, a Hollywood music editor turned recording artist who released her self-titled debut this year. Bedouine was made with the help of Spacebomb session musicians, and though it’s primarily a folk album, this collection of songs shapeshifts and collects new influences along the way. These are plainspoken songs written for quiet moments alone and long walks home, and though the entanglements Korkejian sings about don’t lead to huge, mind-bending revelations, they do leave you feeling a bit more grounded.
Born in Sweden to Argentinean parents, González played in hardcore punk bands through his teenage years before forming Junip in 1998 with childhood friends Tobias Winterkorn and Elias Araya. However, it was his first solo album, Veneer (2003), that put González on the map. He has since gone on to record two more critically acclaimed solo albums – In Our Nature (2007) and Vestiges & Claws (2015) – as well as two albums with Junip, Fields (2010) and Junip (2013). He also contributed heavily to the film soundtrack for The Secret Life of Walter Mitty (2013).
20
@ArtsAndLectures
Compagnie Accrorap/Kader Attou Kader Attou, Artistic Director The Roots
photo: João Garcia
Tue, Feb 6 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Sponsored in part by the Albert & Elaine Borchard Foundation
Artistic Director and Choreographer: Kader Attou Cast: Babacar “Bouba” Cissé, Bruce Chiefare, Virgile Dagneaux, Erwan Godard, Mabrouk Gouicem, Adrien Goulinet, Kevin Mischel, Artem Orlov, Mehdi Ouachek, Nabil Ouelhadj, Maxime Vicente Scenography: Olivier Borne Creation of the Original Painting: Ludmila Volf Original Sound Creation: Régis Baillet - Diaphane, along with additional music Lighting Design: Fabrice Crouzet Costume Design: Nadia Genez Production: CCN de La Rochelle / Poitou-Charentes, Kader Attou / cie Accrorap Co-producers: La Coursive - Scène Nationale de La Rochelle / MA Scène Nationale - Pays de Montbéliard / with the support of CHÂTEAUVALLON centre national de création et de diffusion culturelles during creation residencies Le Centre Chorégraphique National de La Rochelle / Cie Accrorap Direction Kader Attou est soutenu par le ministère de la Culture et de la Communication - DRAC Nouvelle-Aquitaine, le Conseil régional NouvelleAquitaine, la Ville de La Rochelle et par l’Institut français pour certaines de ses tournées à l’étranger et dans le cadre des années croisées.
About the Program Over 20 years, my dance approach has been sculpted from the grinding and blending of various aesthetics – hip hop, Indian kathak, contemporary dance. I believe the key in this process is to build bridges, create links and some sort of dialogue beyond/through difference. This search has led me to try and distinguish what transpires from body as opposed to emotion. How – from a specific technique, a mechanical gesture, a simple hint – with virtuosity such a feeling is born. This questioning is a founding feature of The Roots. First and foremost, The Roots is a human adventure, a journey enacted by 11 exceptional hip-hop dancers. Chapter after chapter, the actual performance transforms, opens up new horizons and brings the spectator elsewhere. This universe consists of ordinary settings, a table... a crackling vinyl record on a turntable, childhood memories... Music plays a crucial part, stirring and calling for the unity of dancers. Brahms, Glazounov, electro music... all these melodies open doors to a dancing mankind. This creation digs into one’s history, each dancer with their strengths and their own path. Starting from their unique style honed over the years, I initiate a journey from the roots towards bodies’ memory. The Roots represents the rewards of this quest: drawing from the generosity of this dance in order to discover new paths. – Kader Attou
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
21
About the Company In 1989, at Saint-Priest, Kader Attou, Eric Mezino, Chaouki Saïd, Mourad Merzouki and Lionel Frédoc created the company Accrorap. From the collective of artists at the beginning to the emergence of unique choreographic works, Accrorap is characterized by its profound openness: openness to the world through journeys conceived as instants of sharing, openness to other artistic forms, openness to other trends. Kader Attou has enriched and fine-tuned his dance through the alchemy of hip hop, circus arts, contemporary dance and visual arts. His works have traveled from the local to the international scene. The style of the company Accrorap and of Kader Attou is generous and strives to break down barriers and cross frontiers. The work of Accrorap is the tale of an international collective adventure, where the concept of encounters is at the center of the company’s approach and where journeys enrich reflection.
About Kader Attou Director of the CCN of La Rochelle and the Poitou-Charentes region, artistic director, dancer and choreographer of the Accrorap dance company Today’s hip hop creative works convey an image of French culture throughout the world; Kader Attou is an integral part of this new dance scene. He is one of the major representatives of French hip hop, and Accrorap is an iconic company. With a focus on remaining contemporary, blending cultures and maintaining a humanistic commitment, Attou’s dance is a sign of his times, where encounters, dialogue and sharing are driving forces and creative sources. In 1994, Athina marked the debut of Accrorap on stage at the Dance biennale in Lyon. Created in 1996, Kelkemo, an homage to Bosnian and Croatian child refugees, was the fruit of a powerful experience in the Zagreb camps in 1994 and 1995. Prière pour un fou (1999), a pivotal piece in the choreographic universe of Kader Attou, attempts to reestablish a dialogue toward peace and freedom in Algeria that was proving increasingly and painfully less probable. Accrorap broadened their scope inventing a dance that is rich and full of humanity with Anokha (2000), at the crossroads between hip hop and Indian dance, East and West. Composed of sketches where performance, emotion and musicality intermingle, Pourquoi pas (2002) enters a universe of poetry and light-
22
ness. Douar (2004) examines issues of exile and boredom, echoing the concerns of young people in neighborhoods and housing estates in France and Algeria. Les corps étrangers (2006), an international project between France, India, Brazil, Algeria and the Côte d’Ivoire, evokes the human condition and searches for possible meeting points between cultures and aesthetic styles to construct, via dance, a space for communication to examine the future. Petites histoires. com (2008) tells of Everyman’s France through burlesque yet sensitive sketches. Trio (?) (2010) takes us to the world of the circus. Symfonia pieśni Żałosnych (2010) is a performance set to Symphony No. 3, also known as the “Symphony of Sorrowful Songs,” by the Polish composer Henryk Mikołaj Górecki. It is carried by soaring vocals penetrated by melodic forces to deliver a message of hope. In 2013, Attou returned to the source of hip hop, to his very first sensations: The Roots is a human adventure, a journey, a dive into his poetical universe. Eleven of the most skillful hip hop dancers perform the piece; they form a group that is in complete symbiosis. Created in August 2014 for the 10th edition of the Nuits Romanes in Poitou-Charentes, Un break à Mozart, born of a collaboration between the CCN of La Rochelle and the Champs-Elysées orchestra, presents a genuine dialogue between dance of today and music of the Enlightenment, with the major musical work of Mozart’s Requiem. In September 2014, for the Dance biennale of Lyon, Attou created OPUS 14 for 16 dancers, men and women, combining power, otherness, commitment and corporeal poetry in a fundamentally hip hop piece. With Un break à Mozart as a base, the premiere of Un break à Mozart 1.1 – a new creation by Kader Attou for 11 dancers and 10 musicians from the Champs Elysées Orchestra – was performed in November 2016 at La Coursive in La Rochelle as part of the event Shake La Rochelle!, the first edition of CCN’s hip hop festival. In 2008, Attou was named Director of the National Centre for Choreography (CCN) in La Rochelle and the du Poitou-Charentes region, becoming the first hip hop choreographer to lead such an institution. In January 2013, Kader Attou was made Chevalier de l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters), and in the New Year’s honors list of 2015, was appointed Chevalier de l’Ordre National de la Légion d’Honneur (Knight of the French Legion of Honor). 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
@ArtsAndLectures
photo: Laurence Labat
Wed, Feb 7 / 7 PM (note special time) / Granada Theatre
Event Sponsors: Kay McMillan Susan McMillan & Tom Kenny Mandy & Daniel Hochman Corporate Sponsor:
Cast
The Owner: Jules Trupin The Ambitious: Justine Methé Crozat The Lover: Alastair Davies The Bartender: Félix Pouliot The Sheriff: Jérémy Saint-Jean Picard The Player: Jérôme Hugo The Vultures: Ben Nesrallah, Sophie Beaudet, Trevor Pool The Warrior: Shena Tschofen The Cowboy: Johan Prytz
Creative Team
Emmanuel Guillaume, Director Jeannot Painchaud, President and Artistic Director, Director of Creation Éloi Painchaud, Music Director, Composer and Arranger Nicolas Boivin-Gravel, Acrobatic Designer and Head Coach Annie St-Pierre, Choreographer Francis Farley, Set and Props Designer Sarah Balleux, Costume Designer Virginie Bachand, Makeup Designer Francis Hamel, Lighting Designer Colin Gagné, Sound Designer and Sound Project Manager Pascal Auger, Associate Producer
About the Company A driving force in the circus art reinvention movement, Cirque Éloize has been creating award-winning entertainment content for nearly 25 years and ranks among the world’s leading contemporary circuses. Cirque Éloize has taken part in numerous prestigious international festivals and has seduced both New York’s Broadway and London’s West End. Its productions are crafted for a wide range of audiences and have been embraced worldwide. In the last 24 years, Cirque Éloize’s 11 shows have proudly boasted more than 4,000 performances in more than 500 cities and have been seen by more than 3 million spectators. iD, Cirkopolis and Saloon are respectfully the eighth, ninth and 11th productions under the Cirque Éloize banner currently touring internationally. In addition to its touring shows, more than 1,500 Cirque Éloize-designed events have taken place worldwide. It’s pronounced [EL-WAZ] / Éloize is a word from the Acadian dialect meaning ‘‘heat lightning’’ in Îles-de-laMadeleine archipelago located in the Gulf of St. Lawrence River, over 200 km east of Quebec. Artists of the first Cirque Éloize troupe were all from these islands.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
23
About the Cast Ben Nesrallah, musician and singer Ben Nesrallah has been actively performing, recording, collaborating, arranging, producing and teaching across North America and Europe for the past 12 years. Although his formal training is in classical piano (Master of Music), Nesrallah has firmly established himself as one of his generation’s most promising folk talents. Last summer marked the release of The River, his first collection of solo recordings for banjo and voice. He is a founding member of the Montreal-based duo The Noisy Locomotive, which showcases his versatility as a multi-instrumentalist. The group released their third album, All Nature Soon Will Settle Down To Rest, last October, and they have been invited to play at major festivals across Eastern Canada. Nesrallah was recently selected as a performing artist for Saloon, a new creation from Cirque Éloize. In addition to a rigorous international touring schedule, this year will see the release of his second solo album, The Road Less Travelled Will Bring Me Home, and a Cajun/Québécois album from Chloé Laberge + The Noisy Locomotive.
Trevor Pool, musician and singer Trevor Pool is a musician based in Ottawa and Montreal who specializes in the traditions of Appalachian and American folk and country (1800s-WWII), while also writing and performing original material to complement the old songs. He graduated from high school in 2010 and has since been a full-time musician. In high school, encouraged by his music teacher, he participated in everything from musical theater productions to the vocal jazz ensemble, the school band and various school groups. He currently writes, records and performs as part of The Noisy Locomotive, who released their third album in October 2015. He also performs as part of Aiken & Beggs, as well as sitting in with various friends within the community.
Sophie Beaudet, musician and singer The recipient of numerous awards, Sophie Beaudet began her career by lending her voice to the Nino Ferrer album and tribute show. In 2011, she opened for the Belgian artist Maurane. That same year, Beaudet was working on her first album, Garçonne, a folk-pop work launched in 2012. It won her a nomination as Revelation of the Year at the ADISQ 2012 Gala. She opened for the French star Bénabar at the 2012 FrancoFolies, and from 2012-2014, she was the opening act for Daniel Lavoie, Andrea Lindsay and Luc De Larochellière. At the SOCAN 2013 Gala, Sophie took a SOCAN Popular Songs award for “À quoi tu penses?,” one of the top 10 most played francophone titles on Quebec radio stations. She then added another feather to
24
her cap, composing an original song: “Tous les souvenirs.” In summer 2015, Beaudet paid tribute to Serge Gainsbourg on Stefie Shock’s album, 12 Belles dans la peau, which came out in February 2016. A show is in the works for the FrancoFolies. Despite the rigorous touring schedule of Saloon, Beaudet began recording her second album in 2016.
Shena Tschofen, acrobat and musician Minnesota native Shena Tschofen attended an arts high school, where she discovered a passion for dance, choreography and photography. She studied dance at the University of Minnesota before moving to Montreal to attend the National Circus School (NCS). She graduated with a specialization in Cyr wheel and developed acrobatic/dance lasso as a unique subspecialty. Complementing her circus and dance background, Tschofen has studied classical violin and traditional fiddle music for more than 15 years. In addition, she creates conceptual photographs that often include images of acrobats in motion. Her work can be found illustrating websites and in print material around the world.
Johan Prytz, acrobat Born in Sweden, Johan Prytz first studied at a high school specializing in sports. He then moved to Denmark at the age of 21 to enter the AFUK Circus School of Copenhagen where he discovered the wonderful world of contemporary circus. This experience changed his perspective on life. After two years, he moved to Canada and began his 4-year training at the National Circus School of Montreal, where he specialized in aerial straps. He became so enthralled with the art of the circus that he decided to make it his career.
Jérôme Hugo, acrobat Born in Lyon, France, Jérôme Hugo began his training at the Zôfy Circus School. He also studied entertainment and taught various circus disciplines to students enrolled in the same program. He furthered his professional training at the National School of Circus Arts (CNAC) in 2009. Despite his youth, Hugo has already won seven awards at several festivals in his four main specialties: Korean and Hungarian plank, trampoline, Russian bar and swing.
Justine Méthé Crozat, acrobat This Franco-Canadian took her first circus class when she was 9 and performed before the public for the first time at the age of twelve. She later entered the Cirque de Québec school – where she learned hand to hand – and then moved on to the National Circus School in Montreal. Justine has traveled extensively, performing in clubs in Germany, in festivals, at corporate events and with the
@ArtsAndLectures
Cirque Éloize tour of iD with her hand-to-hand and aerial hoop acts. She will continue her travels with the Saloon tour in the United States, Canada and Europe.
Alastair Davies, acrobat
Felix Pouliot discovered the circus at Geronimo, a circus summer camp. He fell in love with it and continued his training at the National Circus School in Montreal. Circus art became his dream and his passion, and with continued training, his interest in a professional career took hold. After completing his professional training at the École de Cirque de Québec, Felix has worked for a number of companies and festivals around the world, including GOP Variété and Montréal Complètement Cirque.
At the age of 14, Alastair Davies started breakdancing with his brother. But Davies inserted explosive, acrobatic moves into the flow of the dance. Clearly, he needed something different, and so he tried freerunning and parkour. In 2008 he auditioned for admission to circus schools in France. The following year, he began his studies at the École Nationale des Arts de Cirque in Rosny-sous-Bois. There he learned the disciplines of propulsion with four other students, his first group. Next, he hooked up with a second group where he met Jules Trupin, with whom he entered the Centre National des Arts du Cirque in Châlons-enChampagne. Davies and Trupin decided to pursue their joint research on the Korean plank, inventing a unique approach to movement and acrobatics on that apparatus.
Jules Trupin, acrobat
Production Team
Félix Pouliot, acrobat
Jules Trupin studied for two years at the National Centre for Circus Arts in Châlons-en-Champagne. At the age of 5, he was introduced to circus arts at the Gruss circus school. At 13, he performed at the Auch Circus Festival and on various stages with his solo juggling act. To devote himself fully to his passion, he left the formal school system to follow correspondence courses while preparing for the Lomme circus school entrance exam. After a year of training there, he was accepted, at the age of 17, into the École Nationale des Arts de Cirque in Rosny-sous-Bois. In Châlons-enChampagne, while continuing to pursue juggling, he focused on the Korean plank with his partner Alastair Davies. He toured with the Roncalli Circus in Germany with the Trio Dac, collaborated with Cie Entr’Act in France and appeared at various galas in Belgium. In 2013, he took part in the Monte Carlo Festival, where he won a Junior Silver Award at the New Generation Festival. Trupin went on to win a silver medal at the Festival Mondial du Cirque de Demain.
Jérémy Saint-Jean Picard, acrobat Raised in Québec since the age of 5, Jérémy had insatiable curiosity and drive. At an early age, he became involved in theater, dance and just about every team sport at the schools he attended. A little later, he discovered the circus. With his typical curiosity and enthusiasm, he wanted to try his hand at every possible circus discipline throughout his years of training at the École de Cirque de Québec. He eventually perfected his skills as a carrier, while retaining his curiosity, which has allowed him to be a multidisciplinary artist to this day.
Hugo Hamel, Production Manager and Technical Director Marie-Hélène Delage, Assistant to the Director and Production Stage Manager Natasha Drouin-Beauregard, Production Coordinator Camille Labelle, Assistant to the Technical Director Jean-Michel D’hoop, Puppet Designer Renaud Blais, Acrobatic Equipment Designer Nicolas Belle-Isle, Project Manager – Acrobatic Anna Ward, Intern – Set and Props Julie Laroche, Project Manager – Lighting Vincent Houle, Head Carpenter and Rigger Luc Gosselin, Runner Stéphane Scotto Di Cesare, Hair Dresser Jean-Sébastien Lévesque, Carpenter
Specialized Coaches
Nadia Richer, Assistant to the Head Coach and Aerial Coach, Chandelier and Straps William Underwood, Coach – Acrobatic Performances Annie-Kim Déry, Coach – Aerial Chandelier André St-Jean, Coach – Teeterboard Iryna Burliy, Coach – Cyr Wheel
Music Collaborators and Credits
Éloi Painchaud, Soundtrack Director The Vultures, Contributors to Musical Arrangements Dominique Hamel, Coach – Music Marie-Claire Séguin, Coach – Singing Martine Rainville, Music Supervisor Géraldine Durand-Groulx, Consultant – Album “Bad News” by J. Loudermilk. © Sony/ATV Acuff Rose Music “Crazy” by W. Nelson. © Sony/ATV Tree Publishing “Ring of Fire” by June Carter and Merle Kilgore. © Painted Desert Music Corp. (BMI) Public Domain Songs: “In the pines,”“Take This Hammer,”“Misirlou,”“Chicken Reel” (Joseph M. Daly), “Golden Slippers” (James Bland), “Hard to Love,”“Cotton Eyed Joe,”“Ida Red,”“Will the Circle be Unbroken” (Ada R. Habeshon and Charles H. Gabriel)
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
25
Artists Acrobats
Communications and Marketing
Acrobat and Musician
Souvenir Program Concept
Alastair Davies Jérôme Hugo Justine Méthé-Crozat Félix Pouliot Johan Prytz Jérémy Saint-Jean Picard Jules Trupin Shena Tschofen
Musicians and Singers Sophie Beaudet Ben Nesrallah Trevor Pool
Marie-Pier Nadeau, Communications and Marketing Manager Alizée Lampire, Communications and Marketing Assistant – Graphic Designer Gabrielle Pauzé, Consultant – Communications and Marketing Nathalie Courville, Consultant – Partnerships Valérie Remise and Jim Mneymneh, Photographers Productions Pitoresk, Video Relief Création, Graphic Designer Saint-Jacques Vallée Y&R, Logo Design Clan Créatif: Jonathan E. Des Rosiers, Brigitte Robillard, Raphaël-Lune Duquet-Cormier, Stéphane Martin, François Brisson Société Des Trois: Denis Beauregard
We Wish To Thank
Costume Workshop
Canada Council for the Arts, Patrimoine Canadien, Heritage Canada, Investissement Québec, Filaction, Cargolution, Solotech, Dr. Roger Hobden, Action Sports Physio, Jenny et Louis Boulet, Marilou Vershelden, Antoine Carabinier-Lépine, Antonin Wicky, Nikolas Pulka, Nicolas Germaine (pour la recherche acrobatique), Angie Donkin, Patrice Charbonneau-Brunelle, Christophe Roubinet, Gilles Pelletier, Marie-Christine Cojocaru, Johanne Madran, Lucie Cauchon, Felix Rappaport, France Collins, Isabelle Gilbert, Marie Pernet, Louis-Philippe Morency, Marie-Hélène Gélinas, Maryse Desrosiers, Nathalie Vernissac, Nathalie Anne Arsenault, Quentin Leborgne, Mario Noël.
Stagecraft
We extend special thanks to Cirque Éloize’s Board of Directors: Lise Morissat, Mathieu Piché-Messier, Catherine Roy, Stéphane Drouin, Jeannot Painchaud, Christian Leduc
Technical Team on Tour
Catherine Brassard, Tour Manager and Stage Manager Michel Bisson, Technical Director and Head of Lighting Camille Labelle, Head Stage Carpenter Nancy Vinette, Head of Sound Pascal Lacas, Head Rigger Chantal Bachand, Priscilla Collin, Chloé Giroux-Bertrand, Natasha Massicote, Noémie Poulin, Gilles-François Therrien, Déline Pétrone, Nathalie Dugas, Mireille Thibault, Sylvain Brochu, Cyrille Brin-Delisle Scène Éthique, Atelier, Morel-Leroux, Erik Palardy
Administrative Team
Christian Leduc, General Manager Louis Lehoux, Director – Administrative and Financial Services Marianne Beaudry, Chief Accountant Carole Lapointe, Production Accountant Ashley Adams and Julien Ruchon, Lawyers and Legal Advisors Nicolas Belle-Isle, Technical Coordinator and Logistic Tanya Reid, Coordinator of Operations – Touring Shows Thomas Lenglart, Casting Manager and Assistant to the Artistic Director
Booking Team - Touring Show
Catherine Jacques Jean-Marc Peslerbe Josée Guérette To book a production: develop@cirque-eloize.com
Events
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
Jean-Philippe La Couture, Director and Producer – Events For more information about our events: events@cirque-eloize.com
26
@ArtsAndLectures
Mike Birbiglia The New One
photo: Evan Sung
Fri, Feb 9 / 8 PM / Granada Theatre
Mike Birbiglia is a comedian and storyteller who has performed in front of audiences worldwide, from the Sydney Opera House to Carnegie Hall. His most recent shows, My Girlfriend’s Boyfriend and Thank God for Jokes, were both filmed for Netflix. Birbiglia has released four albums for Comedy Central Records, including My Secret Public Journal Live, which was named one of the Best Comedy Albums of the Decade by The Onion AV Club. In addition to performing live, Birbiglia is an author and filmmaker who wrote, directed and starred in the acclaimed films Sleepwalk with Me and Don’t Think Twice. His book, Sleepwalk with Me and Other Painfully True Stories, was a New York Times bestseller and a finalist for the Thurber Prize for American Humor. As an actor, Birbiglia has appeared on Orange is the New Black, Inside Amy Schumer and Girls as well as in the films Trainwreck, The Fault in Our Stars and Popstar. Birbiglia currently lives in Brooklyn with his wife Jen. 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
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
27
Calidore String Quartet Sun, Feb 11 / 3 PM (note special time) / Hahn Hall
photo: Sophie Zhai
Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello
Up Close & Musical Series sponsored in part by Dr. Bob Weinman
Program Mendelssohn: String Quartet No. 3 in D Major, op. 44, no. 1 Allegro Vivace Menuetto: Un poco Allegretto Andante espressivo ma con moto Presto con brio Janáček: String Quartet No. 1 (“The Kreutzer Sonata“) Adagio; Con moto Con moto Con moto Con moto - Intermission Beethoven: String Quartet No. 9 in C Major, op. 59, no. 3 Introduzione; Andante con moto: Allegro vivace Andante con moto quasi Allegretto Menuetto: Grazioso Allegro molto
28
@ArtsAndLectures
About the Program Felix Mendelssohn (1809-1847):
Leoš Janáček (1854-1928):
In March 1837, Mendelssohn married 19-year-old Cecile Jenrenaud, and in the brief time allotted them (Mendelssohn died 10 years later at age 38), the couple found much happiness: Every account suggests that this was one of the most successful marriages enjoyed by any composer. Mendelssohn was always a prolific (and very fast) worker, and in the months following his marriage he composed an unusual amount. He actually wrote a string quartet on his honeymoon, and over the next year came two more quartets. He published the three quartets in 1839 as his Opus 44.
Czech composer Leoš Janáček labored for years in obscurity. And at the time of his 60th birthday in 1914, he was known only as a choral conductor and teacher who had achieved modest success with a provincial production of his opera Jenufa 10 years earlier. Then, in 1917 came a transforming event. The aging composer fell in love with Kamila Stösslová, a 25-year-old married woman and mother of a small child. This one-sided love affair was platonic – Kamila was mystified by all this passionate attention, though she remained an affectionate and understanding friend. But the effect of this love on Janáček was staggering: Over the final decade of his life he wrote four operas, two string quartets, the Sinfonietta, the Glagolitic Mass and numerous other works, all in some measure inspired by his love for Kamila (he also wrote her more than 600 letters).
String Quartet No. 3 in D Major, op. 44, no. 1
The Quartet in D Major was the last to be completed (in July 1838), but it was Mendelssohn’s favorite of the three, and he published it as the first of the set. Shortly after completing the score, he wrote to the violinist Ferdinand David: “I have just finished my third Quartet, in D major, and like it much. I hope it may please you as well. I rather think it will, since it is more spirited and seems to me likely to be more grateful to the players than the others.” Mendelssohn’s description is accurate – this is energetic music, and it lies gracefully under the hand. The aptly-marked Allegro Vivace opens with the first violin leaping up powerfully over rustling accompaniment from the middle voices. This movement is in sonata form, and its second subject – a quiet chordal melody – brings nice contrast; the climax, marked con fuoco, drives to a close on a variation of the opening theme. The second movement should be a scherzo, a form at which Mendelssohn excelled, but he instead offers a minuet, the form favored by Haydn and Mozart at this point in a string quartet. The term sometimes used to describe this movement is “delicate.” Violins in thirds sing a long melody marked by dark shadings despite the D-major tonality, and a smooth trio section leads to the return of the minuet. The final two movements contrast sharply. The first violin has the expressive main theme of the B-minor Andante espressivo over the second violin’s steady accompaniment. Mendelssohn gracefully weaves together the voices in this movement before it closes on quiet pizzicato strokes. The blistering final movement, Presto con brio, races along a 12/8 meter that often gives the effect of cascading triplets and swung rhythms. Some of the writing for first violin is extremely high in this athletic movement, and the coda is full of cadenza-like brilliance.
String Quartet No. 1 (“The Kreutzer Sonata”)
Not surprisingly, Janáček became consumed in these years with the idea of women: their charm, their power and the often cruel situations in which they find themselves trapped by love. The theme of a woman who makes tragic decisions about love is portrayed dramatically in the opera Katya Kabanova (1921) and abstractly in his two string quartets. The second of these quartets, subtitled Intimate Pages, is a direct expression of his love for Kamila, while the first, subtitled The Kreutzer Sonata, takes its inspiration from Tolstoy’s novella of the same name. In Tolstoy’s story, a deranged man tells of his increasing suspicion of his wife, who is a pianist, and the violinist she accompanies in a performance of Beethoven’s Kreutzer Sonata. He returns home unexpectedly, finds them together and stabs his wife to death. Working very quickly in the fall of 1923, Janáček composed a string quartet inspired by Tolstoy’s story (the actual composition took only nine days: October 30-November 7). A few days before the premiere of the quartet in 1924, Janáček wrote to Kamila, telling her that the subject of his quartet was “the unhappy, tormented, misused and ill-used woman as described by the Russian writer Tolstoy in his work, The Kreutzer Sonata.” Janáček’s biographer Jaroslav Vogel reports that the second violinist at the premiere (who was in fact the composer Joseph Suk) said that “Janáček meant the work to be a kind of moral protest against men’s despotic attitude to women.” Listeners should be wary of trying to hear exact representations of these ideas in the quartet, for this is not music
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
29
that explicitly tells a story. Some have claimed to hear an elaborate “plot” in this music, but it is much more useful to approach the First String Quartet as an abstract work of art that creates an agitated, even grim atmosphere. Listeners should also not expect the normal structure of the classical string quartet. Janáček’s late music is built on fragmentary themes that develop through repetition, abrupt changes of tempo and mood, and an exceptionally wide palette of string color. The opening movement alternates Adagio and Con moto sections, and the other three movements, all marked Con moto, are built on the same pattern of alternating sections in different speeds, moods and sounds. There are several striking touches: the arcing melodic shape heard in the first measures of the quartet will return throughout (the quartet ends with a variation of this figure), while the opening of the third movement is a subtle quotation from the Kreutzer Sonata of Beethoven, a composer Janáček disliked. Throughout the span of the 18-minute quartet, the music gathers such intensity that its subdued ending comes as a surprise. Janáček’s performance markings in the score are particularly suggestive: by turn he asks the players to make the music sound “grieving,” “weeping,” “sharp,” “lamenting,” “desperate,” “lugubrious” and – at the climax of the final movement – “ferocious.” One does not need to know Janáček’s markings, however, to feel the intensity of this music.
Ludwig van Beethoven (1770-1827):
String Quartet No. 9 in C Major, op. 59, no. 3 The three string quartets of Beethoven’s Opus 59 – commissioned by Count Andreas Razumovsky, the Russian ambassador to Vienna and an accomplished violinist – are brilliantly scored, adventurous harmonically and conceived on a scale of grandeur previously unknown in quartet writing. The breadth of their conception led to their being called “symphony quartets,” and it is no surprise that they met with little popular or critical success – no one had ever heard quartets like these before. Completed in December 1806, the Quartet in C Major proved from the beginning the least problematic of the Razumovsky Quartets. In an early review, the Allgemeine Musikalische Zeitung said of the three quartets of Opus 59: “They are profoundly conceived and finely worked out, but are not intelligible to the general public – perhaps with the exception of the 3rd, in C major, whose individuality, melodiousness and harmonic strength must surely win over every educated music lover.” Yet the Quartet in C Major presents listener and performer with problems all its own. It was composed at exactly the same time as Beethoven’s
30
Fourth Symphony, and both quartet and symphony open in an aural fog. The two works begin with a slow introduction that purposely obscures both harmony and rhythm – Beethoven cuts listeners adrift and leaves them struggling for some sense of direction. And then the Allegro of both works establishes a definite tonality and tempo. The spiritual father of both symphony and quartet was almost certainly Mozart’s “Dissonant” Quartet of 1785. In Beethoven’s quartet the first violin leaps out brightly with the opening theme of the Allegro vivace and proclaims the clear tonality of C major. The violin’s first two notes announce an important pattern: that rise of a half-step will unify the entire first movement. The first violin has so concertante a part that this movement (in fact, the entire quartet) has something of the feel of a violin concerto. That virtuoso part, often in a very high register, dominates this sonata-form movement, while the other three voices are frequently relegated to the role of accompanists. The music arrives at a moment of stasis before one of Beethoven’s shortest codas: the cello’s half-step rises launch a rapid chromatic stringendo to the final cadence. The Andante opens with a forte cello pizzicato, and the first violin outlines the brooding A-minor theme that will dominate the movement. A surprising feature of this movement is that its steady tread of six eighth-notes per measure continues almost throughout, but rather than becoming monotonous, this measured pace takes on a force of its own, particularly as it is reinforced by Beethoven’s imaginative and expressive use of cello pizzicato. A second theme – in C major – lightens the mood somewhat, but the tone of the Andante remains dark and restless. Once again, the first violin rises high above the other instruments, often in passages of an almost aching beauty. In contrast to the intense Andante, the Menuetto can seem lightweight. Vincent d’Indy felt that it represented “a return to the style of 1796,” and it is true that the movement lacks the originality of the movements that surround it (it is also the final minuet movement in any Beethoven quartet). But if the music can seem lightweight, it agreeably lessens the tension between the powerful movements on either side of it, and Beethoven makes piquant contrast between the flowing legato of the minuet and the sharply-articulated staccato of its trio. Rather than conclude with a simple da capo, Beethoven writes out a coda that leads without pause to the final movement. That finale leaps to life with a brilliant fugue introduced by the viola. This movement has been called a fugue, but that is inaccurate: Only its beginning is fugal – the remainder is
@ArtsAndLectures
in sonata form. The most impressive aspect of this movement is its relentless energy – it is virtually a perpetual motion for four virtuoso players. One of its most memorable sequences occurs in the development, where each of the instruments is in turn given a brilliant eight-measure passage (based on the final measure of the fugue theme) that simply goes up and comes down the scale. But Beethoven specifies that each instrument must remain on one string, and the result is a brief but dazzling cadenza for each instrument as the others accompany. It is gloriously apt quartet writing, and the effect in performance is breathtaking. There are few finales in Beethoven – or anywhere else – full of such headlong energy, and the music finally hurtles to a cadence. But it is a false cadence, as if Beethoven is unwilling to quit too soon. The music tentatively resumes, then speeds ahead and – set off by a lovely countertheme in the second violin – races to the end of one of Beethoven’s most exciting finales. Program notes by Eric Bromberger
About the Quartet The Calidore String Quartet’s “deep reserves of virtuosity and irrepressible dramatic instinct” (The New York Times) and “balance of intellect and expression” (Los Angeles Times) have won them accolades across the globe and firmly established them as one of the finest chamber music ensembles performing today. The Calidore String Quartet – violinists Jeffrey Myers and Ryan Meehan, violist Jeremy Berry and cellist Estelle Choi – made international headlines in 2016 as the winner of the $100,000 grand prize of the inaugural M-Prize International Chamber Music Competition, the largest prize for chamber music in the world. Also in 2016, the quartet became the first North American ensemble to win the Borletti-Buitoni Trust Fellowship and was named BBC Radio 3 New Generation Artists, an honor that brings with it recordings, international radio broadcasts and appearances in Britain’s most prominent venues and festivals. Most recently, the Calidore was honored with a 2017 Lincoln Center Emerging Artist Award. The 2017-18 season continues the Calidore’s threeyear residency with the Chamber Music Society of Lincoln Center’s CMS Two program. The Calidore String Quartet regularly performs in the most prestigious venues throughout North America, Europe and Asia such as Carnegie Hall, Lincoln Center, Wigmore Hall, Konzerthaus Berlin and Seoul’s Kumho Arts Hall; and at many significant festivals, including Verbier, Ravinia, Mostly Mozart, Music@Menlo, Rheingau, East Neuk and Festspiele Mecklenburg-Vorpommern. In addition to
winning the M-Prize, the Calidore String Quartet has won grand prizes in virtually all the major U.S. chamber music competitions, including the Fischoff, Coleman, Chesapeake and Yellow Springs competitions, and captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition. Highlights of the 2017-18 season include debuts at the Kennedy Center and in Boston, Philadelphia, Paris, Brussels, Cologne and Barcelona. The quartet returns to Wigmore Hall and the Verbier Festival, as well as major series across North America. In April 2018, the Chamber Music Society of Lincoln Center presents the Calidore in their Alice Tully Hall recital debut. As protégés of the Emerson String Quartet, the Calidore String Quartet will perform a joint program with the Emerson at the Ravinia Festival as well as major series in Portland, Ann Arbor and Southern California. In addition to their Emerson collaboration, the Calidore will also perform with cellist David Finckel, pianists Wu Han and Alessio Bax, and violist Roberto Diaz. In summer 2017, the Calidore String Quartet debuted in France and at Chamber Music Northwest (Portland, Ore.) and returned to the Ravinia, Great Lakes and Hudson Valley Chamber Music festivals. Additionally, the Calidore serves as quartet-in-residence at both the Bellingham Festival of Music and Center Stage Strings Institute. The Calidore String Quartet has released three commercial recordings, the most recent of which is quartets by Tchaikovsky and Mendelssohn recorded live in concert at the 2016 Music@Menlo Festival. The French label Editions Hortus released the quartet’s second studio recording, Serenade: Music from the Great War, featuring music for string quartet by Hindemith, Milhaud and Stravinsky, along with the world-premiere recording of Jacques de la Presle’s Suite en sol and the second recording ever of Ernst Toch’s Serenade. February 2015 marked the release of the Calidore’s critically-acclaimed debut recording of quartets by Mendelssohn and Haydn, for which Gramophone dubbed the Calidore String Quartet “the epitome of confidence and finesse.” The Calidore were featured as Young Artists-in-Residence on American Public Media’s Performance Today, and their performances have been broadcast on National Public Radio, BBC, Canadian Broadcasting Corporation, Korean Broadcasting Corporation, Bayerischer Rundfunk (Munich) and Norddeutscher Rundfunk (Hamburg) and were featured on German national television as part of a documentary produced by ARD public broadcasting.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
31
In the 2016-17 season, the Calidore gave world premieres of works by Caroline Shaw, Hannah Lash and Benjamin Dean Taylor. In addition, the Calidore premiered string quartets of Pulitzer Prize winner Caroline Shaw in New York, Berlin, Los Angeles, Washington, D.C., Portland, Detroit and Belfast. The Calidore has collaborated with many esteemed artists and ensembles, including Jean-Yves Thibaudet, Joshua Bell, David Shifrin, Inon Barnatan, Paul Coletti, David Finckel, Paul Neubauer, Ronald Leonard, Paul Watkins, Raphael Merlin and the Quatuor Ébène, among others. Formed in 2010 at the Colburn School of Music, the Calidore has studied closely with such luminaries as the Emerson String Quartet, David Finckel, Andre Roy, Arnold Steinhardt, Günther Pichler, Gerhard Schulz, Guillaume Sutre, Gábor Takács-Nagy, Paul Coletti, Ronald Leonard, Clive Greensmith, Martin Beaver and the Quatuor Ébène. As a passionate supporter of music education, the Calidore String Quartet is committed to mentoring and educating young musicians, students and audiences. Since 2016, the Calidore has served as Visiting Guest Artists at the University of Delaware and Guest Artists in Residence at the University of Michigan. From 2014 to 2016 the Calidore served as Artists-in-Residence at Stony Brook University. The Calidore has conducted master classes and residencies at Princeton, Stanford, the University of Michigan, UCLA and Mercer University. Previously, the Calidore served on the faculty of the Ed and Mari Edelman Chamber Music Institute at the Colburn School. Using an amalgamation of “California” and “doré” (French for “golden”), the ensemble’s name represents a reverence for the diversity of culture and the strong support it received from its home of origin in Los Angeles, California (the “golden state”). The Calidore String Quartet aims to present performances that share the passion and joy of the string quartet chamber music repertoire. For more information about the Calidore String Quartet, please visit www.calidorestringquartet.com and www.facebook.com/calidorequartet. Exclusive Management: Opus 3 Artists 470 Park Avenue South 9th Floor North New York NY 10016 www.opus3artists.com
Julia Bullock, soprano John Arida, piano “Bullock’s radiant soprano shines brightly and unfailingly… She communicates intense, authentic feeling, as if she were singing right from her soul.” Opera News
Santa Barbara Recital Debut
Tue, Apr 3 / 7 PM (note special time) / Hahn Hall Music Academy of the West $35 / $9 UCSB students Includes pre-show party A Hahn Hall facility fee will be added to each ticket price
Up Close & Musical Series sponsored in part by Dr. Bob Weinman
32
@ArtsAndLectures
Cameron Carpenter featuring the
International Touring Organ Mon, Feb 12 / 7 PM (note special time) / Granada Theatre Post-performance Producers Circle reception
Program will be announced from the stage
Related Thematic Learning Initiative Event (see page 8)
Cameron Carpenter
The International Touring Organ
Cameron Carpenter is the world’s most visible organist, and the first ever organist nominated for a Grammy Award for a solo album. He is a virtuoso composer-performer who is smashing the stereotypes of organists, organ music and classical music. Since receiving a Master’s Degree from The Juilliard School in New York in 2006, he has performed at venues including Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tchaikovsky Hall in Moscow, Davies Hall in San Francisco and many others. He performs regularly with the Los Angeles Philharmonic, the San Francisco Symphony, the Berlin Philharmonic and the National Symphony Orchestra. His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under the direction of Alexander Shelley. Carpenter’s latest album, All You Need is Bach was released by SONY and topped the Billboard Classical charts at No. 1 in the U.S. and Europe.
True to its name, Cameron Carpenter’s International Touring Organ isn’t stationary. Since its debut, it has become Carpenter’s instrument of choice, quickly eclipsing the pipe organ. “It’s where my heart lies,” he says.
Carpenter travels with the one-of-a-kind International Touring Organ (ITO), a project ten years in the making. The world’s first truly artistic digital organ, its sophisticated technology reproduces the sounds of the finest historical organs, providing Cameron an unprecedented degree of flexibility in performance spaces and in his concert repertoire, which is already among the largest and most diverse of any organist in the world. www.cameroncarpenter.com. Cameron Carpenter appears by arrangement with Columbia ARTISTs Music, LLC. Mr. Carpenter records exclusively for Sony Classical.
The International Touring Organ is the eighth organ by Marshall & Ogletree, the Needham, Mass., organ builders redefining the digital organ as an instrument of artistic significance. Its concept is simple: innovate the relationship between organ and organist. While the uniqueness of each pipe organ is part of its collective magic, this makes it impossible to perform the same music regardless of where the organist plays, as any violinist can do through a relationship of years with a single instrument. Therefore Marshall & Ogletree has sampled sounds from many traditional pipe organs, including many of Carpenter’s favorite instruments – from the cathedral to the Wurlitzer. These come together in an organ designed not for size, limitless variety, or to model any particular pipe organ, but rather to make a great organ internationally mobile – an idea impractical or impossible by other means. The true scale of its ambitiousness can be seen in its console and extensive touring sound system. These ensure the organ’s consistency from venue to venue, both as the home instrument of the artist it was built for and an ultimate acoustical experience for the listener. “One of the things that is so important about this touring organ, and one of its great trump cards – one of the things that the pipe organ can never provide – is a sense of psy-
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
33
chological home,” Carpenter says. “I can call up sounds from the organ that in some sense first made me want to do what I’m doing.” The entire organ assembles in less than three hours and travels in a single large truck; identical European and American sound systems (housed in Berlin, Germany and Needham, Mass.) make it internationally mobile. Its sound system is a massive complex of specially sourced sound support and amplification equipment housed in mobile, location-adaptable touring cases. The organ console is assembled manually and hydraulically from only six modular parts and, like the sound system, travels in purpose-built robust touring cases.
Back by Popular Demand
Danish String Quartet
A maverick in the traditional world of organ building, Marshall & Ogletree shot to prominence in 2003 with their Opus 1 at Trinity Church Wall Street in New York City, a landmark organ controversial for having replaced the former Aeolian-Skinner pipe organ damaged by debris on September 11, 2001. Uniquely among organ builders, the firm’s principals are also acclaimed organists – Douglas Marshall, a competition-winning former student of Virgil Fox, and David Ogletree, a Curtis Institute graduate. www.marshallandogletree.com Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture
“These Nordic lads possess warmth, wit, a beautiful tone and technical prowess second to none.” NPR Program Haydn: String Quartet No. 1 in B-flat Major, op. 1, no. 1 (“La Chasse”) Mozart: String Quartet No. 17 in B-flat Major, K. 458 (“Hunt Quartet”) Widmann: Jagdquartett Brahms: String Quartet No. 3 in B-flat Major, op. 67
Fri, Feb 23 / 7 PM / Campbell Hall Tickets start at $25 $15 all students (with valid ID) Event Sponsor: Anonymous Donor
34
@ArtsAndLectures
photos (bottom row): David Bazemore; (top) JoãoGarcia
Have fun tonight. Plan for tomorrow.
Help sustain Santa Barbara’s vibrant cultural life for the benefit of future generations, by making Arts & Lectures part of your estate plan. Together, let’s protect our future. To discuss planned giving, call us at (805) 893-2174.
35
We educate. We entertain. We inspire. Former Vice President Joe Biden speaks with UCSB students at Campbell Hall following his public lecture.
Together, we make a difference.
Our gratitude to the following education sponsors:
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.
WILLIAM H. KEARNS FOUNDATION
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. The Roddick Foundation
Join us in making a difference all year long. 36
36
Connie Frank & Evan Thompson
Go to www.ArtsAndLectures.UCSB.edu and click “Give Now”
Support Arts & Lectures: (805) 893-2174
Membership Benefits
$100 - $500
$1,000
◆
Invitations to post-performance meet-and-greet opportunities with featured artists and speakers
◆ ◆
◆
Free parking at all ticketed A&L events at UCSB Campbell Hall
◆
Opportunity to bring guests to a select A&L public event
◆ ◆
◆
◆
◆
Invitation to A&L’s exclusive Season Announcement Party
◆
◆
Invitations to A&L fundraisers
◆
◆
Opportunity to attend master classes and other educational outreach activities
◆
◆
◆
◆
◆
Invitations to Producers Circle Receptions with featured artists and speakers Invitation to Intermission Lounge in the McCune Founders Room during A&L performances and lectures at The Granada
New!
Complimentary ticket exchange when your plans change Recognition in A&L quarterly event programs
◆
◆
◆
◆
Ability to donate back tickets as a tax-deductible donation
◆
◆
◆
◆
Invitation to a season preview event
◆
◆
◆
◆
irc le
rsh ip C
ro du ce rs C Le ad e
$2,500+ $5,000+
Invitation to a reception at a private residence with featured artist or speaker
VIP Ticketing and Concierge Service and Priority Seating
ut ive P
irc le Ex ec
Pr od uc er sC
to r
Di re c
of Fri en ds
Jazz at Lincoln Center Orchestra with Wynton Marsalis performs at a private party for Producers Circle members
Cir cle
photo: Isaac Hernandez
irc le
Join Arts & Lectures Today
$10,000+
Leadership Circle includes all the benefits of Executive Producers Circle plus your own personalized membership experience.
Call today for a customized benefits package.
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
Support Arts & Lectures: (805) 893-2174
37
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 Arlene* & 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 & Jon* Lovelace lynda.com Marilyn & Richard 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
*In Memoriam
Much gratitude to our Community Partners
& Lou Buglioli
38
Support Arts & Lectures: (805) 893-2174
Yardi Systems, Inc.
Council for Arts & Lectures
Arts & Lectures Legacy Circle
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 Sherry Villanueva Heather Sturgess Anne Towbes
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 October 31, 2017
$100,000+ Anonymous (2) 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+ Marcia & John Mike Cohen ‡ Audrey & Timothy O. Fisher ◊‡ Luci & Rich Janssen ‡ Ellen & Peter O. Johnson Dorothy Largay & Wayne Rosing Lillian & Jon* Lovelace Justine Roddick & Tina Schlieske Fredric E. Steck ‡ Heather & Tom Sturgess ◊‡
$25,000+ Anonymous (2) Arlene* & Barrie Bergman Loren Booth 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 Barbara Stupay Sheila Wald Dr. Bob Weinman Wells Fargo Bank Susan & Bruce Worster Yardi Systems, Inc.
$10,000+ Anonymous (3) Margo Baker Barbakow & Jeffrey Barbakow Mary & Gary Becker ‡ Sheila & Michael Bonsignore Elizabeth & Andrew Butcher Casa Dorinda Retirement Residence Virginia Castagnola-Hunter Curvature Christine & Bill Fletcher Connie Frank Foundation 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 Patricia & Jim Selbert
Support Arts & Lectures: (805) 893-2174
Suzi & Glen Serbin Laura Shelburne Stephanie & Jim Sokolove Kirstie Steiner & John Groccia Russell Steiner The Stone Family Foundation 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 October 31, 2017.
Executive Producers Circle $5,000+ Anonymous (4) Judy & Bruce Anticouni ◊ Sarah Argyropoulos Jill & Arnie Bellowe Leslie & Ashish Bhutani Paul Blake & Mark Bennett Albert & Elaine Borchard Foundation Brillo-Sonnino Family Foundation Nancy Brown Sarah & Roger Chrisman Tana & Joe Christie NancyBell Coe & William Burke ‡ Wendy & Jim Drasdo Larry Gottesdiener Samvada Hilow & Jeff Frank Sharyn Johnson Elaine & Herbert Kendall Linda Kiefer & Jerry Roberts ‡ Maia Kikerpill & Daniel Nash Suzanne & Duncan Mellichamp Peter R. Melnick Dale & Michael Nissenson Leila & Robert Noël Jan Oetinger 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
39
Producers Circle Anonymous Allyson & Todd Aldrich Roxana & Fred Anson Pat & Evan Aptaker Laurel Beebe Barrack Hiroko Benko Jennifer & Jonathan Blum Tracy & Michael Bollag Susan E. Bower Susan D. Bowey Karen & Peter Brill Michael Brinkenhoff Wendel Bruss Michele & Arnold Brustin 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 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 Nancy & Linos Kogevinas 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 Nancy McGrath Amanda & Jim* McIntyre Ronnie & Chase Mellen Diane Meyer Simon Anne & Hale Milgrim Ginger & Marlin Miller Val & Bob Montgomery Harriet Mosson & Robert Kohn Maryanne Mott Myra & Spencer Nadler Nanette & Henry Nevins New England Foundation for the Arts Elizabeth & Charles Newman Joan Pascal & Ted Rhodes Constance Penley Ann & Dante Pieramici Dori Pierson & Chris Carter Anne & Michael* Pless Stacy & Ron Pulice Lisa Reich & Robert Johnson Julie Ringler & Richard Powell Vicki Riskin & David W. Rintels Kyra & Tony Rogers Charlie & Dr. Herb Rogove Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Bruce Russell & Andy Oakley 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
40
Support Arts & Lectures: (805) 893-2174
$2,500+
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
Circle of Friends $1,000+ Anonymous Anti-Defamation League Peggy & Steve Barnes Linda Bedell Ella and Scott Brittingham Frank Burgess Lynne Cantlay & Robert Klein Diana & Steve Charles Toni & Bruce Corwin Michael K. Dunn Carole & Ron Fox Gail & Harry Gelles Susan & Gary Gleason Jane & Norman Habermann Joan & Palmer Jackson Mary Jacob Lynne Jahnke Shelley & Paul Johnson Patricia Lambert & Frederick Dahlquist Susan Matsumoto & Mel Kennedy ◊ Alixe & Mark Mattingly Sheila & Frank McGinity Almeda & J. Roger Morrison Natalie Myerson Carol & Steve Newman Cybil & Tim Nightingale Nancy & Douglas Norberg Ellen & Jock Pillsbury E.D. Polk & J.P. Loganbach Julie & George Rusznak Diane & Chuck Sheldon Delia Smith Suzanne & John Steed Amy & George Tharakan Iona & Burton Tripathi
$500+ Christine Allen American Riviera Bank Linda & Peter Beuret Sallie & Curt Coughlin Cid & Thomas* Frank Beth & Dodd Geiger Susan Gwynne Vikki Hunt Diana Katsenes
Lauren & Steve* Katz Danson Kiplagat Elinor & James Langer Fima & Jere Lifshitz Lynn & Mel Pearl Anne Ready & David Gersh Robin Rickershauser Maryan Schall Meredith & Al Taylor Elena Urschel Claire & Glenn Van Blaricum Richard Watts Candace White Jennifer Williamson Dore Anna & Don Ylvisaker
$250+ Julie Antelman Ariana & Christopher Arcenas-Utley Pamela Benham & Paul Hansma Rochelle & Mark Bookspan Sue & John Burk Colman Daniel Nancy & Roger Davidson Edward & William* DeLoreto Victoria Dillon Elizabeth Downing & Peter Hasler Kathryn Downing Ann & David Dwelley Margaret & Jerrold Eberhardt Rebecca & Gary Eldridge Gail Elnicky Dorothy Flaster Betty & Stan Hatch Stacey & Raymond Janik Lynn Kingsland Sandra & Richard Lynne Catherine McKee Angelo & Phyllis* Mozilo Joan & Bill Murdoch Phyllis Myers & Daniel Greiwe Kathlyn & William Paxton Doris Phinney & Owen Patmor Minie & Hjalmer Pompe van Meerdervoort Deborah & Ken Pontifex Julie & Chris Proctor Erlaine Seeger Gary Simpson Beverly & Michael Steinfeld Sissy Taran Gail & David Teton-Landis Anne & Tony Thacher Jocelyne Tufts Christine VanGieson Carol Vernon Victoria Wall Gordon Walsh Mary Walsh
Jo Ellen & Thomas Watson Diana Woehle
$100+ Anonymous (2) Dorothy & Peter Abbey Catherine Albanese Vickie Ascolese & Richard Vincent Mickey Babcock Bernadette Bagley Jon Beeson Carmen Benz Norrine Besser Vail Bixler Vicky Blum & David Lebell David Brown Rachel & Douglas Burbank Jennifer Capps Jane Carlisle Roxanne & John Chapman Mary Elizabeth Claassen Arthur Collier & Robert Greenberg Mary Dase Gwen & Rodger Dawson Lila Deeds Joan & Thomas Dent Jeffrey Donahue Kari Ann Eiler Susan Epstein Christine Fancher Casey Fang Vanessa Frank Isabel Gaddis Michele & Fred Gallagher Virginia & Ted Gardner Stephanie Glatt Kristy Glisson Janis Gogel Michael Gordon Elizabeth Gray Linda & Robert Gruber Jane Gutman Gayle Hackamack Roger Harrison Shauna Hartley Kristine Herr Len Homeniuk Sandra Howard Elizabeth Howe Barbara & Weldon Howell Janice Hubbell David Irwin Martha Inman Lorch & Douglas Lorch Sarah Jacobs Deborah & Jay James Johanna & Brian Johnson MaryAnn Jordan & Alan Staehle Susan Kadner Denise Kale
Lois Kaplan Jean Keely Carole Kennedy Jamie Kinser Paula Kislak Kim Kosai Jasmine Kova & Kazimir Gasljevic Zoë Landers Martha & William Lannan Carol & Don Lauer Kathryn Lepage Catherine & Wayne Lewis Scott Lochridge Sheila Lodge Pamela Lombardo Victoria & John Lubbers Arica Lubin Stacey Matson Ruth & John Matuszeski Sandra McCartney Cyndi McHale Julie McLeod RM Mecau Donna & Ron Melville Lori K. Meschler Katharine Metropolis & Jeff Richman Joanne Moran & Mitchell Kauffman Troy Mosie Jeri & Jeff O’Mahoney Jean Pedersen Dennis J. Perry Tu Pham Jach Pursel & Enrique Dominguez Albert Reid Robin Riblet Adele Rosen Erica Russell Justus & Helen Schlichting Christiane Schlumberger Rhonda & Larry Sheakley Holly & Lanny Sherwin Joan & Steven Siegel Margo Smith Mark Smith Trudy Smith Timothy Snider Margaret Spaniolo & Michael Afshar Kay & Theodore Stern Elizabeth & K. Martin Stevenson Terry & Art Sturz Karen Telleen-Lawton Mary Ellen Tiffany Paul Tonkin Lila Trachtenberg & George Handler Linda Turner Marion & Frederick Twichell Emi Umezawa Kenny Van Zant Dana Webster
Matthew Wegrzynowicz 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 UC Santa Barbara 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
Public Lectures Support Yardi Systems, Inc.
Support Arts & Lectures: (805) 893-2174
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, Director of Finance & Operations 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
41
Seth Stephens-Davidowitz Everybody Lies: Big Data, New Data, and What the Internet Can Tell Us About Who You Really Are
Tue, Feb 13 / 7:30 PM (note special time) / Campbell Hall
Event Sponsors: Susan & Craig McCaw Related Thematic Learning Initiative Event (see page 8) In Everybody Lies – a New York Times and Wall Street Journal bestseller – Seth Stephens-Davidowitz explores how Google searches open an unprecedented window into human behavior, choice and decision-making; after all, we offer up 8 trillion GBs of data every day. In talks, this former Google data scientist draws on his research to reveal what we really think – about politics, race, economics and much more.
Wharton School at the University of Pennsylvania, where he has developed a course about his research. A direct, succinct and frequently humorous writer and keynote speaker, he’s presented his original research using big data as engaging lectures, scientific manuscripts and popular data journalism. He has a doctorate in economics from Harvard and a Bachelor of Arts in philosophy, Phi Beta Kappa, from Stanford.
Seth Stephens-Davidowitz has used the Internet to find groundbreaking insights into advertising, sports, sexuality, health and many other aspects of 21st century life. Named one of PBS’s best books of the year, as well as one of Amazon’s best business books of the year, his new book Everybody Lies: Big Data, New Data and What the Internet Can Tell Us About Who We Really Are, summarizes this research, arguing that much of what we thought from traditional offline data sources has been dead wrong.
Books are available for purchase in the lobby and a signing follows the event
The book includes a foreword from Harvard psychology professor Steven Pinker, who argues that StephensDavidowitz’s work “is about a whole new way of studying the mind,” includes discoveries that “turned upside-down” his understanding of human beings, and “points to a new path for social science in the 21st century.” Stephens-Davidowitz is a contributing op-ed writer for The New York Times and a visiting lecturer at The
42
@ArtsAndLectures
Tony Kushner and Sarah Vowell in Conversation
The Lincoln Legacy: The Man and His Presidency Tue, Feb 20 / 7:30 PM (note special time) / Campbell Hall
Event Sponsors: Eva & Yoel Haller Related Thematic Learning Initiative Event (see page 8)
Tony Kushner Born in New York City in 1956 and raised in Lake Charles, La., Kushner is best known for his two-part epic, Angels in America: A Gay Fantasia on National Themes. His other plays include A Bright Room Called Day, Slavs!, Hydrotaphia, Homebody/Kabul and Caroline, or Change, the musical for which he wrote book and lyrics with music by composer Jeanine Tesori. Kushner has translated and adapted Pierre Corneille’s The Illusion, S.Y. Ansky’s The Dybbuk, Bertolt Brecht’s The Good Person of Sezuan and Mother Courage and Her Children and the English-language libretto for the children’s opera Brundibár by Hans Krasa. He wrote the screenplays for Mike Nichols’ film of Angels in America, and Steven Spielberg’s Munich. In 2012, he wrote the screenplay for Spielberg’s movie Lincoln. His screenplay was nominated for an Academy Award and won the New York Film Critics Circle Award, Boston Society of Film Critics Award, Chicago Film Critics Award and several others. His books include But the Giraffe: A Curtain Raising and Brundibar: The Libretto, with illustrations by Maurice Sendak; The Art of Maurice Sendak: 1980 to the Present; and Wrestling with Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. His recent work includes The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and a collection of one-act plays entitled Tiny Kushner. A revival of Angels in America ran off-Broadway at the Signature Theater and won the Lucille Lortel Award in 2011 for Outstanding Revival.
Kushner is the recipient of a Pulitzer Prize for Drama, an Emmy Award, two Tony Awards, three Obie Awards, an Arts Award from the American Academy of Arts and Letters, a PEN/Laura Pels Award, a Spirit of Justice Award from the Gay and Lesbian Advocates and Defenders, a Cultural Achievement Award from The National Foundation for Jewish Culture, a Chicago Tribune Literary Prize for lifetime achievement, the 2012 National Medal of Arts and the 2015 Lifetime Achievement in the American Theater Award, among many others. Caroline, or Change, produced at the National Theatre of Great Britain, received the Evening Standard Award, the London Drama Critics’ Circle Award and the Olivier Award for Best Musical. In 2008, Tony Kushner became the first recipient of the Steinberg Distinguished Playwright Award, the largest theater award in the U.S. He is the subject of a documentary film, Wrestling with Angels: Playwright Tony Kushner, made by the Academy Award-winning filmmaker Freida Lee Mock. He lives in Manhattan with his husband, Mark Harris.
Sarah Vowell Sarah Vowell is the New York Times bestselling author of seven nonfiction books on American history and culture. By examining the connections between the American past and present, she offers personal, often humorous accounts of everything from presidents and their assassins to colonial religious fanatics, as well as thoughts on American Indians, utopian dreamers, pop music and
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
43
the odd cranky cartographer. Her most recent book is entitled Lafayette in the Somewhat United States.
violence reveal about our national character and our contemporary society.
Vowell’s book, Unfamiliar Fishes, is the intriguing history of our 50th state, Hawaii, which was annexed in 1898. Replete with a cast of beguiling and often tragic characters including an overthrown Hawaiian queen, whalers, missionaries, sugar barons, Teddy Roosevelt and assorted con men, Unfamiliar Fishes is another history lesson in Americana as only Vowell can tell it – with brainy wit and droll humor.
She is also the author of two essay collections, The Partly Cloudy Patriot and Take the Cannoli. Her first book Radio On, is her year-long diary of listening to the radio in 1995.
The Wordy Shipmates examines the New England Puritans and their journey to and impact on America. She studies John Winthrop’s 1630 sermon “A Model of Christian Charity” and the bloody story that resulted from American exceptionalism. And she also traces the relationship of Winthrop, Massachusetts’ first governor and Roger Williams, the Calvinist minister who founded Rhode Island – an unlikely friendship that was emblematic of the polar extremes of the American foundation. Throughout she reveals how American history can show up in the most unexpected places in our modern culture, often in poignant ways. Her book Assassination Vacation is a haunting and surprisingly hilarious road trip to tourist sites devoted to the murders of presidents Lincoln, Garfield and McKinley. Vowell examines what these acts of political
Vowell was a contributing editor for the public radio show This American Life from 1996 to 2008, where she produced numerous commentaries and documentaries and toured the country in many of the program’s live shows. She was one of the original contributors to McSweeney’s, also participating in many of the quarterly’s readings and shows. She has been a columnist for Salon.com, Time and San Francisco Weekly and continues to write occasional essays for the opinion page of the New York Times. She was also guest editor for The Best American Nonrequired Reading 2017. Vowell has made numerous appearances on the Late Show with David Letterman, Late Night with Conan O’Brien and the Daily Show with Jon Stewart. She is the voice of teen superhero Violet Parr in Brad Bird’s Academy Awardwinning The Incredibles, a Pixar Animation Studios film. Vowell was the president of the board of 826NYC, a nonprofit tutoring and writing center for students aged 6 to 18 in Brooklyn, from its founding in 2004 until 2014. She is still a member of its advisory board, along with its sister organization in Los Angeles, 826LA. Books by both authors are available for purchase in the lobby and a signing follows the event
Special thanks to
44
@ArtsAndLectures
Çudamani
Gamelan and Dance of Bali Wed, Feb 21 / 8 PM / Campbell Hall
Artistic Directors: I Dewa Putu Berata, I Nyoman Cerita, I Dewa Putu Rai and Emiko Saraswati Susilo
Program
Producer: Judy Mitoma and The Foundation for World Arts
Composer: I Dewa Putu Rai
Performers: Dewa Gde Guna Arta, Dewa Putu Berata, Nyoman Cerita, Dewa Putu Rega Elyana, Ida Bagus Anom Mandhara Giri, Kadek Juliantara, Made Karjana, Dewa Ayu Dewi Larassanti, Putu Swaryandana Ichi Oka, Kadek Dedy Maelan Pratama, Wayan Wika Cendana Putra, Dewa Made Mega Putra, Dewa Ayu Eka Putri, Dewa Putu Rai, Dewa Gde Sanjaya, Made Yogisatya Satwika, Wayan Sudiarsa Made Supasta, Emiko Saraswati Susilo, Dewa Ayu Swandewi, Anak Agung Gede Anom Sweta, Putu Wibi Wicaksana, Ida Bagus Made Widnyana, Made Joker Winangun, Ida Bagus Putu Eka Wirawan
Tari Amurwa Bhumi (Dalem) (Wise Leader of the World)
Costume Design: Dewa Putu Berata, Nyoman Cerita, Emiko Saraswati Susilo, Putu Wibi Wicaksana Tour administration: Anuradha Ganpati Kishore, Monica Favand Campagna, Marcia Argolo
Rangrang
The word rangrang refers to that which is intertwined or knit together, just as we are interwoven with one another and the universe around us. Balinese gamelan often starts with a section called a peng-rangrang, a flowing abstraction of the core melody, the benang merah or “red thread” that weaves through the fabric of the composition. The piece is inspired by and a tribute to master composers of our ancestors, such as Kak Lotring, and the belief that each sound, each note has a sacred resonance, each pattern an intrinsic beauty. Beauty and inspiration is brought together in a way that is rooted in those heirlooms of artistry that we have inherited and is joyfully relevant to the young generations of today.
Choreographer: I Nyoman Cerita Musical Arrangement: I Dewa Putu Berata
Every aspect of a true leader’s life is bound by the laws of nature and the universe, and a leader’s influence in the world has consequences. Characterized by strong, controlled, thoughtful and refined technique – every movement, every step of Dalem expresses clarity, nobility, balance and harmony, qualities that we expect in our wise leaders. The cascading melodic lines flow fluidly, following structures laid down for countless generations.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
45
Tari Legong Pertiwi (Legong for Mother Earth) Choreographer: I Nyoman Cerita Composer: I Dewa Putu Rai
Pertiwi is the goddess of the Earth, the womb of the origins of life, who contains and maintains all that we need to live as humans. She is life, and to the extent that life is cherished and revered, she is cherished and revered. Legong Pertiwi is an homage to Mother Earth, Ibu Bhumi, the Universe and all that exists within. Remembering that her destruction would be our destruction, we offer our energy, focus and work to care for and honor Her. The music is gamelan selonding, an ancient form of iron gamelan, deeply rooted in the rituals of Balinese Hinduism.
Tari Baris Cecanangan (An Offering of the Guardians) Choreographer: I Nyoman Cerita Composer: I Dewa Putu Rai
An offering of music and dance founded on the concepts of Shiwam, Satyam and Sundaram is an expression of our hope for enlightenment, truth and harmonious life with the Divine, Natural and Human worlds. The movements of this new work evoke the ancient Baris Gede that Balinese men have offered in temples since the time of our ancestors, an impressive realization of the male energy’s guardian power. The dance and music illustrate the ever evolving cycles of life and delve deeply into the mystical life in Bali. The use of palawakya recitation and musical techniques of gong gede create an awareness of other universes and remind us of our responsibility to the ancient power of community and the mystical radiance that resides all around us.
- Intermission Tari Kebyar Duduk (Seated Kebyar) Creator: Bapa Mario
One of the most technically challenging dances of the Balinese repertoire, the movements are inspired by nature and connect the dancer to the Earth. Imbued with elements of great refinement, precision and strength, the dance is a reflection of our own human path seeking a balance between masculine/feminine; strength/softness; bravery/caution. The ability of the solo dancer to match and augment the powerful music of the full gamelan is one of the most demanding and impressive aspects of this dance.
Tari Tamulilingan Ngisep Sari (Bee in Search of Nectar) Creator: Bapa Mario
The interdependence of life inspires this dance where the
46
beauty of the flower attracts the bee to collect nectar and in return pollinate the flowers. The relationship is completely symbiotic, each nurturing the other in a gentle cycle filled with love and care. This rarely-performed version has its home in the Peliatan region of Bali. It was taught to Çudamani in 2015 by the original dancer, Ni Gusti Ayu Raka Rasmin.
Sekar Sandat (“The Ylang Ylang Flower, even when it is wilted, remains fragrant.”) This much-loved song uses the metaphor of flowers to talk about our lives as humans. The Sandat flower is famously not beautiful, however it is fragrant even after it is wilted, and is an essential part of Balinese ceremonies and life, the lesson being that our true beauty lies not on the surface, but in our hearts. If we work to make the world a better place, then even when we have passed away, our name and our work will remain fragrant in the memories of those who have known us.
Tabuh Kebyar Perak (Silver Explosion)
Taught and Arranged by: Bapak I Wayan Gandra Kebyar means explosion or light, and perak silver. Like the sacred light that emanates from the Earth and from each of us, the sounds of the different instruments in this gong kebyar masterpiece evoke the dynamic rhythms of life – cycles of seasons, night and day, changing eras. When these sounds are intertwined, there is a balance that brings profound joy.
Cak Sato (Animal kecak)
Directed by Dewa Putu Berata and created with the entire company This new cak is inspired by sato, or animals. Like humans, to survive animals must seek balance and find peace in their world. Cak Sato draws upon the rich vocal chanting traditions of Bali. The fast, playful and sometimes humorous version that Çudamani has created reflects the dynamic musical landscape of Bali, with many elements of the piece created by the performers themselves in their shared expression of their loving and joyful connection to one another.
About Çudamani Çudamani traces its roots to the 1970s when the children of Pengosekan – a village well known for its community of painters, weavers and musicians – gathered after school to play music in the village balai (pavilion). Over the years these independent-minded children formed a new kind of organization that has become a pride of the village and respected across Indonesia.
@ArtsAndLectures
Tourism has had a powerful impact on the arts in Bali – particularly so in Ubud, the famous tourist town north of Pengosekan. By the 1990s most of the musicians of Ubud were playing for tourists, supplanting the needs of the community. The youth of Pengosekan often found themselves working in this system – experiencing the financial benefits of tourism while keenly aware of the artistic and cultural dangers of this arrangement. In September 1997, Director Dewa Putu Berata, Artistic Director Dewa Ketut Alit and others from Pengosekan called together a number of talented and promising young people from different areas in Bali to form Sanggar Çudamani. For 20 years, Çudamani has maintained the highest standards of excellence and performs primarily as a spiritual offering for temples and for the activities of their village community. The group is activist and responds to the philosophical, practical and problematic issues that face Balinese life today. They invite master artists to teach rarely performed repertoire, and members are well-known for the creation of new work. As a way to disseminate their message and offer their members a chance for international travel, the senior company has toured since 2002 in the U.S., Canada, Italy, Greece, Netherlands and Japan. Many master musicians, scholars and ethnomusicologists from around the world turn to Çudamani for creative collaborators. In their village, Çudamani offers free music and dance instruction for different age groups. These youth offer their music and dance as a form of prayer in temple ceremonies and village events, both a benefit and point of pride for the village. Of special importance is the serious training of their gamelan group for girls. Many say they have set a high bar of excellence for other groups in Bali. Çudamani youth groups have been invited to the prestigious Bali Arts Festival where the children perform before audiences of 3,000 with technical precision, artistic excellence and incredible spirit and cohesion. As with the senior company, the children of Çudamani have an island-wide reputation. Indeed, many of these children find their way to the senior company.
Artistic Direction I Dewa Putu Berata, Director Born and raised in the village of Pengosekan, the son of a great drummer, I Dewa Putu Berata was immersed in Balinese performing arts from birth. The founder and director of Çudamani, he is renowned for his compositional skills in both traditional and innovative styles and a rare ability to communicate a diverse knowledge of Balinese arts to both Balinese and international artists. As a result of Berata’s vision, Çudamani has become an important artistic center
in Bali where the study and preservation of classic forms is nurtured alongside the creative energies of young artists in Bali. He frequently serves as the Guest Musical Director of Berkeley-based Gamelan Sekar Jaya. He is a graduate of the Indonesian Institute of the Arts, Denpasar (Bali’s National Academy of the Arts).
I Nyoman Cerita, Dance Director One of Bali’s most influential choreographers and teachers, I Nyoman Cerita hails from the village of Singapadu, renowned for its vibrant dance traditions. He has been Çudamani’s Senior Dance Advisor since the group’s inception and is in demand all over Bali as a choreographer and teacher. He has trained some of Bali’s finest award-winning dancers and always remains dedicated to the teaching of Balinese children. He received his bachelor’s degree from the Indonesian Institute of the Arts and his Master of Fine Arts from UCLA. He has served as the Head of the Dance Department at the Indonesian Institute of the Arts and recently completed his doctorate at Udayana University.
Emiko Saraswati Susilo, Assistant Director Emiko Saraswati Susilo was raised in a family rich with the arts. She began her study of Balinese dance with Ibu Ni Made Wiratini and her study of Javanese dance with late Master Rama Sasminta Mardawa, teacher of the Court of Yogyakarta. She is a gamelan/vocal student of Bp. Tri Haryanto and Ki Midiyanto. Susilo is a founding member of Çudamani and has been a core leader since the group’s inception. She works closely with Çudamani’s groundbreaking gamelan program for girls. For six years, she served as director of the Berkeley-based Gamelan Sekar Jaya. She received her bachelor’s degree from UC Berkeley and her master’s degree from the University of Hawaii.
Dewa Putu Rai, Music Director One of Çudamani’s core founding members, Dewa Putu Rai is one of the most in-demand composers on the island of Bali. Known for both his instrumental and dance music, Rai’s aesthetic blends creative innovation with traditional sensibilities. His compositional skills and breathtaking drumming are complemented by his deep understanding of dance and his dedication to teaching and mentoring some of Bali’s most vibrant young musicians. Special thanks to
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
47
Matthew Desmond
Evicted: Poverty and Profit in the American City
photo: Michael Kienitz
Thu, Feb 22 / 7:30 PM (note special time) / Campbell Hall
Related Thematic Learning Initiative Book Giveaway (see page 9)
MacArthur Fellow Matthew Desmond’s New York Times bestselling book Evicted: Poverty and Profit in the American City draws on years of embedded fieldwork and painstakingly gathered data. Evicted won the 2017 Pulitzer Prize, National Books Critics Circle Award for Nonfiction, the Andrew Carnegie Medal for Excellence in Nonfiction, the PEN/ John Kenneth Galbraith Award for Nonfiction and Barnes & Noble’s Discover New Writers Award, and it was a finalist for the Los Angeles Times Book Prize for Current Interest. It was named one of the Top Books of 2016 by nearly three dozen outlets, including The New York Times, The Washington Post, Publishers Weekly, Entertainment Weekly, Kirkus, The Boston Globe and The Wall Street Journal. This landmark work of scholarship and reportage takes us into the poorest neighborhoods of Milwaukee to tell the story of eight families on the edge. Even in the most desolate areas of American cities, evictions used to be rare. But today, most poor renting families are spending more than half of their income on housing, and eviction has become ordinary, especially for single mothers. In vivid, intimate prose, Desmond provides a ground-level view of one of the most urgent issues facing America today. As we see families forced into shelters, squalid apartments, or more dangerous neighborhoods, we bear witness to the human cost of America’s vast inequality. As Jacob Blumgart of Slate writes, “Desmond’s book manages to be a deeply moral work, a successful nonfiction narrative and a sweeping academic survey – all while bringing new research to his academic field and to the public’s attention.”
Harvard University. His primary teaching and research interests include urban sociology, poverty, race and ethnicity, organizations and work, social theory and ethnography. Desmond was awarded his MacArthur “genius” grant in 2015, for “revealing the impact of eviction on the lives of the urban poor and its role in perpetuating racial and economic inequality.” A former member of the Harvard Society of Fellows, Desmond is also author of the award-winning book On the Fireline, the co-author of two books on race and the editor of a collection of studies on severe deprivation in America. He has written essays on educational inequality, dangerous work, political ideology, race and social theory and the inner-city housing market. The principal investigator of the Milwaukee Area Renters Study, an original survey of tenants in Milwaukee’s low-income private housing sector, Desmond has been supported by the Ford, Russell Sage and National Science Foundations. His writing has appeared in The New York Times and the Chicago Tribune. For more information on Matthew Desmond, please visit justshelter.org. Books are available for purchase in the lobby and a signing follows the event
Special thanks to
Desmond is John L. Loeb Associate Professor of the Social Sciences and co-director of the Justice and Poverty Project at
48
@ArtsAndLectures
Danish String Quartet Fri, Feb 23 / 7 PM (note special time) / Campbell Hall Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello
Event Sponsor: Anonymous Donor
Program Haydn: String Quartet No. 1 in B-flat Major, op. 1, no. 1 (“La Chasse”) Presto Menuetto Adagio Menuetto Presto Mozart: String Quartet No. 17 in B-flat Major, K. 458 (“Hunt”) Allegro vivace assai Menuetto: Moderato Adagio Allegro assai - Intermission Widmann: String Quartet No. 3 (“Jagdquartett”) Brahms: String Quartet No. 3 in B-flat Major, op. 67 Vivace Andante Agitato (Allegretto non troppo) Poco Alegretto con Variazioni
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
49
About the Program This program takes as its theme a pairing that at first seems improbable: the string quartet, that most civilized and subtle of chamber music forms, and hunting, a blood sport. What possibly can those two have to do with each other? Well, more than we might think, and the connection is musical. Hunters, particularly those who rode horses, often communicated with each other by means of a hunting horn. Those horns, circular and valveless, were very difficult to handle, especially on horseback. They could play a limited number of notes, and they sounded best in great strident calls, usually set in 6/8. It is a very distinctive kind of music, bold and grand, and composers across the centuries have incorporated it into what we might call “serious” music. This concert offers examples from four different composers. Haydn was the only one of these four who was actually a hunter: He once shot three hazel-hens (grouse) that were served to Empress Maria Theresa when she visited Esterhaza, and we hear a hunting-horn call at the very beginning of his first quartet. The same sort of 6/8 hunting call opens Mozart’s Quartet in B-flat Major, but while Mozart’s quartet has nothing to do with hunting, Jorg Widmann’s Quartet No. 3 is explicitly about hunting, as his comments in the program note make clear. Like Mozart, Brahms makes use of the hunting-horn 6/8 meter at the beginning of his Quartet in B-flat Major, but here he uses it to set up a contrast of meter: The first theme of his quartet is in 6/8, while the second is in 2/4.
Franz Joseph Haydn (1732-1809):
were fast, the even-numbered movements were minuets and at the center would be a lengthy slow movement. Those familiar with the string quartet form will recognize that here Haydn was anticipating the arch-form Bartók would employ in his Fourth and Fifth String Quartets nearly two centuries later. But where the mature Bartók used that form to create some of the most powerful and expressive string quartets ever written, the young Haydn was writing music intended simply to entertain his audiences and performers. Those 10 divertimenti were published as Haydn’s Opus 1 and Opus 2, and the very first of them – in B-flat major – quickly acquired the nickname La chasse (“The Hunt”) because of the hunting horn-like call of its very opening. This opening Presto is in a sort of early sonata form: Haydn writes a very brief development of the opening section, full of antiphonal exchanges between the first violin and the other instruments, then offers a repeat of this section. The first Menuetto begins with a sturdy tune in the first violin; the trio section moves to E-flat major and sets the instruments in pairs: The violins exchange the line with the lower instruments. At the center is a lengthy Adagio, also in E-flat major, that is essentially a serenade for the first violin. All four instruments offer a solemn introduction, and then the first violin takes wing, soaring gracefully above steady accompaniment from the other three players. The second Menuetto is built on canonic writing, while its trio section makes piquant contrast between piano and forte attacks. The concluding Presto, in 2/4, races along happily, and once again Haydn gives a brilliant part to the first violinist.
String Quartet No. 1 in B-flat Major, op. 1, no. 1 (“La Chasse”)
Wolfgang Amadeus Mozart (1756-1791):
When Haydn, in his mid-20s, began to write pieces for two violins, viola and cello, he had no conception of the string quartet, nor did he or any of his contemporaries recognize that music for this combination of instruments would eventually become one of the great forms in music. Instead, Haydn composed what he called divertimenti a quattro: music for “diversion,” performed by four instruments. When Haydn wrote 10 of these divertimenti between 1757 and 1759, he was still living in Vienna, earning his living as a freelance violinist and struggling to teach himself to be a composer. Not until 1761 would he be hired by the Esterhazy family, and from that position he would transform himself into one of the greatest composers of his era, one who eventually composed more than 80 string quartets and essentially invented the form in the process.
Nicknames sometimes get attached to pieces of music for the thinnest of reasons. Audiences like to have a handle, a way of identifying or distinguishing a particular piece (and publishers see nicknames as good selling points). Some nicknames are appropriate. Mozart’s Symphony No. 41 truly does sound so Olympian that the nickname Jupiter strikes exactly the right note to identify that great music. But many nicknames are less felicitous, mere convenient tags that – by dwelling on a detail – mislead rather than illuminate the music they name.
Most of Haydn’s early divertimenti were in five movements in a quite symmetrical shape: The first and last movements
50
String Quartet No. 17 in B-flat Major, K.458 (“Hunt”)
Mozart’s String Quartet in B-flat Major, K.458 falls into the latter category. The nickname “Hunt” (not original with the composer) comes from the 6/8 theme at the very beginning, which some listeners have identified with the sound of hunting horns. The identification of this quartet with hunting is unfortunate, since the music has not the faintest connection with hunting and such a nickname draws
@ArtsAndLectures
one away from the many distinctive merits of this quartet. The Quartet in B-flat Major is the fourth of the cycle of six quartets written between 1782 and 1785 that Mozart dedicated to Haydn. He completed this quartet on November 9, 1784, and it has been admired for the wonderfully graceful writing for strings, for the easy partnership of four equal voices and for its many original touches. Though the Allegro vivace assai begins amiably with the socalled “hunting” theme, the development brings a surprise, for it seems based on entirely new themes – only fragments of the exposition material appear here. But the recapitulation brings back the first theme in all its glory, and Mozart pulls all his material together easily at the close. Distinctive as the first movement is, it almost functions as prelude to the middle two movements, the most striking in the quartet. Mozart reverses the expected order, so that the minuet precedes the slow movement. Minuets can sometimes serve as pleasing interludes between more serious movements, but Mozart suffuses this one with rare expressive power. Trills and off-the-beat accents mark its outer sections, while the trio itself – which begins over a cheerfully-ticking accompaniment in the middle voices – grows suddenly expressive in its second strains, with dark shadings and plangent falls. The stunning Adagio begins simply, but soon the first violin spins a long, disconsolate melodic line that turns complex and darkly-shaded as it proceeds. Though the movement belongs largely to the first violin, one should not overlook the consummate skill with which the secondary voices shade and merge with the leading voice, sometimes murmuring in the background, sometimes deftly trading parts of the melodic line. After the subdued close of the Adagio, the sonata-form finale comes as a burst of sunlight, its eight-bar phrases flowing seamlessly between the four voices. Haydn heard this quartet performed at a garden concert in Vienna on February 10, 1785. Stunned by the music, he pulled Mozart’s father Leopold aside and offered the most sincere compliment any composer ever gave another. This remark has been quoted many times, but Haydn’s evaluation of Mozart is worth hearing again: “Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.”
Jörg Widmann (b.1973):
String Quartet No. 3 (“Jagdquartett”) Composer and clarinetist Jörg Widmann received his early training in his native Munich, then spent a year at the Juilliard School studying clarinet with Charles Neidich. He
returned to Munich to study composition with Hans Werner Henze and Wilfried Hiller and later with Wolfgang Rihm. Widmann has been Professor of Clarinet at the Hochschule für Musik in Freiburg since 2001, and he currently divides his time between Freiburg and Munich. As a composer, he has won numerous awards, and his music has been widely performed by such conductors as Jonathan Nott, Sylvain Cambreling, Christian Theilemann and Kent Nagano. Pierre Boulez led the Vienna Philharmonic in the premiere of Widmann’s Armonica at the 2007 Salzburg Festival. Between 1997 and 2005, Widmann composed a cycle of five brief string quartets. Each of these quartets corresponds to a movement in a large-scale classical composition, and these quartets may be performed individually (as the Third is on this program) or as part of the larger cycle. The String Quartet No. 3 is the “scherzo” of the cycle, and Widmann has nicknamed it Jagdquartett, or “Hunting Quartet.” The other three composers on this program were not concerned with hunting per se, but Widmann takes the notion of hunting music in quite a different direction in his Third Quartet. He borrows his hunting rhythms from Schumann’s Papillons, and at first his quartet seems an evocation of hunting, complete with galloping rhythms and exuberant vocal cries. But the positive energy of the opening soon leads to what the composer calls the “skeletonizing” of the character of the music. In his own note to this quartet, Widmann says that “the situation of the four instrumentalists changes: The braggart hunters go on to be hunted, to be pursued. The fact that the three high strings conspire against the cello is a further (deadly) change of perspective and put the blame on this instrument is an analogy to social patterns of behavior.” Listeners may follow the progress of this music easily across the 11-minute span of the String Quartet No. 3: It moves from its exuberant beginning to an angst-ridden climax, then on to an eerie denouement and finally to a shocking conclusion.
Johannes Brahms (1840-1897):
String Quartet No. 3 in B-flat Major, op. 67 Brahms’ final string quartet is his most original – and perhaps most successful – essay in that form. He completed this quartet and several other works during the summer of 1875, which he spent happily at Ziegelhausen, near Heidelberg. Throughout that relaxed summer, though, Brahms continued to work on his First Symphony, a project that had occupied (some would say obsessed) him for more than 20 years. He could at least escape into the other works he wrote that summer, and typically he deprecated them as “useless trifles,
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
51
to avoid facing the serious countenance of a symphony.” The Quartet in B-flat Major – hardly a useless trifle – had its first performance on October 30, 1876, five days before the long-awaited premiere of the First Symphony. Brahms’ first two string quartets had been tightly-argued affairs, but in the Third Quartet he seemed to relax, and this music flows and shimmers. Its bright surface, though, conceals many original touches, and the genial finale in particular is a compositional tour de force. Brahms gives the opening movement the unusual marking Vivace, more typical of a scherzo than a sonata-form first movement. It is built on two contrasted theme-groups, but in fact the real contrast in this movement is between two quite different meters. The opening – inevitably compared to hunting horn calls – is in 6/8, while the second theme is in 2/4: Its slightly-square rhythms have reminded some commentators of a polka. Brahms builds the movement around subtle contrasts between these different meters, jumping back and forth between them and at several points experimenting with some modest polyrhythmic overlapping. The movement concludes with a cadence derived from the “hunting-horn” opening. The ternary-form second movement opens with a long violin melody reminiscent of the music of Brahms’ close friend Robert Schumann. Brahms marks the violin part cantabile, but it must cut through a thick accompaniment, which is often double-stopped. The middle section, full of fierce declarations and rhythmic swirls, gradually gives way to the opening material and quiet close. The third movement is marked Agitato, but that is more an indication of mood than tempo, and Brahms puts the real tempo direction – Allegretto non troppo – in parentheses. Particularly remarkable here is the sound: Brahms mutes all instruments except the viola, which dominates this movement. Its husky, surging opening idea contrasts with the silky, rustling sound of the muted accompanying voices. The trio section likewise emphasizes the sound of the viola, followed by a da capo repeat and coda. The finale – Poco Allegretto con Variazioni – is the most remarkable of the four movements, and Brahms’ biographer Karl Geiringer called it “the nucleus of the whole work.” As Brahms’ marking suggests, it is a set of variations, based on a folk-like tune announced immediately. There follow six variations, all fairly closely derived from the opening tune, and then some remarkable things begin to happen. Into the seventh variation suddenly pops the hunting-horn tune from the quartet’s very beginning, the eighth variation is based on a transition passage from the first movement and in the closing moments Brahms puts on a real show of compositional mastery: He combines the hunting-horn
52
tune from the very beginning with the variation melody of the finale and presents them simultaneously. Such a description makes this music sound terribly learned, and that might in fact be the case, were it not so much fun. We greet these themes as old friends when they appear to take up their place in the dance, and Brahms rounds off the quartet with this bright union of his opening and closing movements. Program notes by Eric Bromberger
About the Quartet Embodying the quintessential elements of a chamber music ensemble of the highest caliber, the Danish String Quartet has established a reputation for their integrated sound and technical and interpretive talents matched by an infectious joy for music-making and “rampaging energy” (The New Yorker). Since making their debut in 2002 at the Copenhagen Festival, the musical friends have demonstrated a passion for Scandinavian composers, who they frequently incorporate into adventurous contemporary programs, while also giving skilled and profound interpretations of the classical masters. The New York Times selected the Quartet’s concerts as highlights of 2012 and 2015, praising “one of the most powerful renditions of Beethoven’s Opus 132 String Quartet that I’ve heard live or on a recording,” and “the adventurous young members of the Danish String Quartet play almost everything excitingly.” The Danish String Quartet’s expansive 2017-2018 North American season includes more than 30 performances across 17 states. The ensemble gives debut performances at numerous renowned venues, such as Bravo! Vail and Ravinia summer festivals, Cleveland Chamber Music Society, Santa Fe Pro Musica, Oregon Bach Festival and San Francisco Performances, among others. Further season highlights include returns to the Mostly Mozart Festival, UW World Series at Meany Hall in Seattle, Chamber Music Society of Lincoln Center and the Philadelphia and Buffalo Chamber Music Societies. This season, the Quartet features a richly satisfying array of diverse repertoire which includes both giants of the string quartet canon – Bartók, Beethoven, Brahms, Haydn and Mozart – and lesser-performed works by Sibelius, Schnittke and Jörg Widmann. The Quartet’s recent debut recording on ECM Records features works of Danish composers Hans Abrahamsen and Per Nørgård and English composer Thomas Adès and received five stars from The Guardian, praised as “an exacting program requiring grace, grit and clarity and the Danish
@ArtsAndLectures
players sound terrific... It’s a sophisticated performance.� The recording debuted at No.16 on the Billboard Classical Chart and continues to earn international acclaim. In addition to their commitment to highlighting Scandinavian composers, the Danish String Quartet continues to expand upon their deep affinity for Scandinavian folk music with several performances of their own arrangements of traditional Nordic music, and with the release of a new recording on ECM Records this past fall.
www.danishquartet.com The Danish String Quartet has recorded for ECM, DaCapo and CAvi-Music/BR Klassik. Exclusive Representation: Kirshbaum Associates, Inc. 711 West End Avenue, Suite 5KN New York, NY 10025 www.kirshbaumassociates.com Special thanks to
photo: Caroline Bittencourt
In 2009, the Danish String Quartet won First Prize in the 11th London International String Quartet Competition, as well as four additional prizes from the same jury. This competition is now called the Wigmore Hall International String Quartet Competition and the Quartet has performed at the famed hall on many occasions. The ensemble received the 2010 NORDMETALL-Ensemble Prize at the
Mecklenburg-Vorpommern Festival in Germany and, in 2011, won the prestigious Carl Nielsen Prize. The Danish String Quartet received the 2016 Borletti Buitoni Trust provided to support outstanding young artists in their international endeavors, joining a small, illustrious roster of past recipients.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
53
Squirrel Nut Zippers Thu, Mar 1 / 8 PM / Campbell Hall
It was about 20 years ago when NPR’s Morning Edition said: “It’s not easy to categorize the music of the Squirrel Nut Zippers, except that it’s hot.” The Squirrel Nut Zippers’ most celebrated and commercially successful album, Hot, was originally released in the summer of 1996. Hot was the follow up to the band’s critically acclaimed debut The Inevitable. By this time the group had already established a substantial live following across the country thanks to early support from NPR, college radio and non-commercial stations. Hot wound up selling over 1.3 million copies. A newly-remastered version of the album – along with a bonus track: “The Puffer” – returned to stores in 2016 on Hollywood Records. Long out of print on vinyl, Hot has now made its glorious return to wax on 180-gram vinyl. In honor of the 20th anniversary of Hot, the band’s visionary creator Jimbo Mathus, along with founding member and partner Chris Phillips (drums), crafted a stage show featuring several leading musicians from New Orleans to serve up the band’s unique musical flavor which owes its roots to that city.
Minneapolis and more. Fans are clearly excited the band are touring again. “We are humbled and incredibly excited by the initial Zippers shows since the re-launch,” band leader Jimbo Mathus commented. “It’s not a reunion, it’s a revival! The band includes cutting-edge talent from New Orleans and the songs have been brought to life in an exciting new way. But most things remain unchanged... An amazing experience for young and old.” Plans are under way for the band to record a brand new album, which would be their first new studio album in 17 years. www.snzippers.com https://twitter.com/snzippers https://www.facebook.com/SNZippers www.instagram.com/snzippers Special thanks to
In July 2016, the Squirrel Nut Zippers went on tour after an almost seven-year hiatus, and they’ve been on the move ever since. The band has performed at major festivals including the Montreal International Jazz Festival, Strawberry Music Festival, LEAF Festival and the Exit Zero Jazz Fest. They have had sold out shows in Los Angeles, San Diego, Chicago, Dallas, Atlanta, Little Rock,
54
@ArtsAndLectures
Compañía Nacional de Danza de España José Carlos Martínez, Artistic Director Johan Inger’s Carmen
photo: Jesús Vallinas
Tue, Mar 6 & Wed, Mar 7 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor:
Post-performance Producers Circle reception
Carmen
Choreography: Johan Inger Choreographer’s Assistant: Urtzi Aranburu Music: Rodion Shchedrin and Georges Bizet Additional Original Music: Marc Álvarez Original Editor of Carmen Suite, Bizet-Shchedrin: Musikverlag Hans Sikorski, Hamburg Costumes: David Delfín Dramaturgy: Gregor Acuña-Pohl Set design: Curt Allen Wilmer (AAPEE) Assistant Set Designer: Isabel Ferrández Barrios Lighting Design: Tom Visser World premiere by Compañía Nacional de Danza on April 9th, 2015 at Teatro de la Zarzuela, Madrid (Spain). Johan Inger was awarded the Benois de la Danse 2016 Prize for Carmen, created for the CND.
About the Program When Johan Inger was asked to create a new version of Carmen, himself being Swedish and Carmen being a piece with a strong Spanish nature, he faced an enormous challenge. But it was also a great opportunity. The story witnessed through the eyes of a young watcher reveals the tale stripped to its mythic and universal elements of passion and violence. “There is a certain mystery within this character, it could be any kid, it could be Don José when he was a boy and it could be a young Michaela or Carmen and José’s unborn child. It could even be ourselves, with our very first goodness wounded due to a violent experience that, though brief, has had a negative impact in our lives and our ability to interact with others forever.” – Johan Inger
About the Company Compañía Nacional de Danza (CND) was founded in 1979 under the name Ballet Nacional de España Clásico with Víctor Ullate as its first director. His successors in the post were María de Ávila and the extraordinary Russian ballerina Maya Plisetskaya. In 1990, Nacho Duato was named artistic director of the company.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
55
Duato’s appointment brought innovative change to the company. Up to his departure in 2010, he contributed 45 choreographic works, praised by critics worldwide. After one year under the artistic direction of Hervé Palito, the Compañía Nacional de Danza appointed its current artistic director, José Carlos Martínez. He took office on September 1, 2011, after leaving his post as principal dancer for the Paris Opera Ballet. José Carlos Martínez’s goal for the company is to promote dance and to make this art form better known. His repertory is wide, ranging from classical and neoclassical ballet to modern choreographic language, within a setting of full artistic freedom. It embraces both new Spanish and international creations, drawing in new audiences and boosting the company’s national and international reputation.
José Carlos Martínez, Artistic Director José Carlos Martínez began his ballet studies in Cartagena under Pilar Molina, continuing in 1984 at the Centre de Danse International Rosella Hightower in Cannes. In 1987, he won the Lausanne Prize and joined the Paris Opera Ballet School. In 1988, he was personally selected by Rudolf Nureyev to join the Ballet Company of the Paris Opera as a corps de ballet dancer. In 1992, he was promoted to Principal Dancer and won the Gold Medal in the International Competition of Varna. On May 27, 1997, he was appointed Etoile of Paris Opera Ballet, the highest category a dancer can rise to. During his career, José Carlos Martínez has been awarded numerous prizes, including: the Prix de l’AROP; the Prix Carpeaux; the Premio Danza & Danza; the Prix Léonide Massine-Positano; the Spanish National Dance Prize; the Gold Medal of the City of Cartagena; the Prize Elegance et Talent France/Chine; Scenic Arts Prize for the best dancer (Valencia); Benois de la Danse for his choreography Les Enfants du Paradis and the Prize Dansa València. He is Commandeur de l’Ordre des Arts et des Lettres (France). Jose Carlos Martinez’s repertoire as a dancer is characterized by his famous choreographies of classical and neo-classical ballet. Apart from that he has worked with most of the important choreographers of the 20th century such as Maurice Bejart, Pina Bausch, Mats Ek and William Forsythe, some of whom created pieces especially for him. On invitation, he has also been featured as guest performer with many of the world’s most prestigious ballet companies.
56
As a choreographer, José Carlos Martínez is behind many creations. For students of the Paris Opera Ballet School he created Mi Favorita (2002), Delibes-Suite (2003) and Scaramouche (2005). For the Paris Opera Ballet he created Paréntesis 1 (2005), Soli-Ter (2006), El Olor de la Ausencia (2007), Les Enfants du Paradis (2008) and Scarlatti: Pas de deux (2009). For the Shanghai Ballet he created Marco Polo and the Last Mission (2010). For Compañía Nacional de Danza de España he has created Sonatas (2012), Raymonda Variations (2013), Don Quixote Suite (2015) and La Favorita (2017). He also created Resonance (2014) for the Boston Ballet. José Carlos Martínez is also behind the CND’s first full-length classical ballet in 20 years: his own version of Don Quixote, which was premiered at Teatro de la Zarzuela Madrid in 2015, and has been touring through Spain and abroad ever since, with huge success and unanimous praise from reviewers. He will premiere his version of The Nutcracker in 2018.
Johan Inger Johan Inger had his dance training at the Royal Swedish Ballet School and the National Ballet School in Canada. From 19851990, he danced with the Swedish Royal Ballet in Stockholm. Fascinated by the works of Jiří Kylián, Inger was convinced that a next step in his dance career should take him to Nederlands Dans Theater. In 1990, the hour had come. He joined NDT 1 and was a high-profile dancer in the company until 2002. When Inger tried his hand at Nederlands Dans Theater’s annual choreography workshops, Kylián noticed his talent for choreography. In 1995, after four workshop pieces, Inger was allowed to make his first choreography for Nederlands Dans Theater 2. The resulting Mellantid marked his official debut as a choreographer. It was part of the Holland Dance Festival and was immediately a resounding success. It brought him the Philip Morris Finest Selection Award 1996 in the Contemporary Dance category. In 2001, Mellantid was nominated for the Laurence Olivier Award in the Best New Dance Production category. Since his debut, Inger has made various works for NDT (including Sammanfall, Couple of Moments, Round Corners and Out of Breath). For his ballets Dream Play and Walking Mad he received the Lucas Hoving Production Award in October 2001. Walking Mad – as it was later performed by Cullberg Ballet – was awarded the Danza & Danza’s Award 2005. Inger himself was nominated for Dutch prizes such as the Golden Theatre Dance Prize 2000 by the VSCD Dance Panel and the Merit Award 2002 from the Stichting Dansersfonds ’79. Inger left NDT for the artistic leadership of Cullberg Ballet in 2003. Over the next few years he made various works for the
@ArtsAndLectures
company: Home and Home, Phases, In Two, Within Now, As If, Negro con Flores and Blanco, among others. And to celebrate Cullberg Ballet’s 40th anniversary, he created the work Point of Eclipse (2007). Inger ended his artistic directorship in summer 2008 to devote himself entirely to choreography. In February 2009, he produced a new work for Cullberg entitled Position of Elsewhere. In October 2009, Inger created a new work, Dissolve in This, for NDT 1 & 2 for the opening of Nederlands Dans Theater’s 50th jubilee season. Since 2009, Johan Inger has been Associate Choreographer with NDT. In May 2010, the Göteborg Ballet in Sweden premiered Falter and in September 2010, NDT premiered Tone Bone Kone, both new creations. In September 2011, Inger created Rain Dogs, based on music by Tom Waits, for the Basel Ballett in Switzerland. In 2012, Inger created I New Then for the NDT 2 and in 2013, Sunset Logic for NDT 1 in The Hague, Holland. In September 2013, he created Tempus Fugit for Ballet Basel in Switzerland. He created B.R.I.S.A. (2014) for NDT 2. In 2015, he created One on One for NDT 2 and The Rite of Spring for the Royal Swedish Ballet in Stokholm. In May 2017, he created Peer Gynt for the Ballet Theater Basel. Johan Inger has been awarded with the prize Benois de la Danse 2016 for Carmen, originally created for the CND.
Compañía Nacional de Danza de España Artistic Director: José Carlos Martínez Executive Director: Daniel Pascual Head of Administration: Sonia Sánchez Co-Artistic Director: Pino Alosa Lead Principals: Seh Yun Kim, Alessandro Riga Principal Dancers: Cristina Casa, Kayoko Everhart, Esteban Berlanga, Isaac Montllor, Anthony Pina Soloists: Aída Badía, Lucie Barthélémy, Elisabet Biosca, Natalia Muñoz, YaeGee Park, Yanier Gómez, Erez Ilan, Toby William Mallit, Aleix Mañé, Daan Vervoort Corps de Ballet: Mar Aguiló, Helena Balla, Rebecca Connor, Tamara Juárez, Sara Khatiboun, Sara Fernández, Agnès López, Sara Lorés, Clara Maroto, María Muñoz, Daniella Oropesa, Haruhi Otani, Giulia Paris, Shani Peretz, Laura Pérez Hierro, Ana Pérez-Nievas, Pauline Perraut, Giada Rossi, Leona Sivoš, Irene Ureña, Ion Agirretxe, Niccolò Balossini, Juan José Carazo, Ángel García Molinero, Jesse Inglis, Cristian Lardiez, Miquel Lozano, Álvaro Madrigal, Marcos Montes, Benjamin Poirier, Iván Sánchez, Roberto Sánchez, Rodrigo Sanz
Ballet Masters: Cati Arteaga, Anael Martín, Elna Matamoros, Yoko Taira Artistic Coordinator: Jesús Florencio Pianists: Carlos Faxas, Viktoria Glushchenko Physical Therapist: José Ignacio Pérez, Laura Hernández Masseur: Mateo Martín Communication Manager: Maite Villanueva Assistant to Communication Manager: José Antonio Beguiristain Production Director: Luis Martín Oya Production: Javier Serrano Assistant to Executive Director: Amanda Pérez Vega Administration: Susana Sánchez-Redondo Staff: Rosa González Concierges: Miguel Ángel Cruz, Teresa Morató Technical Director: Luis Rivero Technical Office Team: Eduardo Castro, Deborah Macías Stage Managers: José Álvaro Cotillo Stage Hands: Francisco Padilla, Germán Arjona Electricity: Lucas González, Juan Carlos Gallardo Video & Sound: Jesús Santos, Pedro Álvaro, Rafa Giménez Wardrobe: Ana Guerrero, Mª del Carmen Ortega, Mar Aguado, Teresa Antón, Mar Rodríguez Wardrobe Archive: Luisa Ramos, Eva Pérez Properties: José Luis Mora Storehouse: Reyes Sánchez Twitter: @CNDspain #CNDCarmen Facebook: Compañía Nacional de Danza, Spain #CNDCarmen Intagram: @cndanzaspain #CNDCarmen
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
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
57
Wu Man and the Huayin Shadow Puppet Band
photo: Wind Music
Thu, Mar 8 / 8 PM / Campbell Hall Wu Man, Artistic Director, pipa Zhang Ximin, leading vocals, yueqin Zhang Shimin, percussion Zhang Quansi, percussion Zhang Xinmin, erhu Dang Guangdi, erhu Yuan Yuti, zhonghu Liu Xicang, banhu Dang Anhua, percussion
Program Pipa Solo Suite: Two Traditional Pieces “Flute and Drum Music at Sunset” (lyrical style) “Ambush from Ten Sides” (martial style)
“Round Sun and Crescent Moon in the Heavens” This is the stirring overture from a recent spoken play Plain of the White Deer, arranged by scholar Dang Anhua. The lyrics explore the complementary tasks and resulting feelings of peasant men and women.
“Ancient Song of the Guanzhong Plain” The gods and generals may have created the landscape, but peasant life must go on.
“The Won-Done Song” The poem, a meditation on the vanity of human ambitions, comes from Cao Xueqin’s celebrated 18th-century novel The Story of the Stone.
Pipa and Percussion: Folk Music
“A Bright Pearl in the Sea”
“Dragon Boat”
An ode to battle sung by the Tang general Qin Qiong.
“Purple Bamboo Tune”
“Shiyang Jing” (instrumental)
Three Heroes Do Battle with Lü Bu (puppets)
Instrumental interludes punctuate the drama, resting the puppeteers’ voices.
This excerpt is a dialogue between the celebrated ancient warriors Zhang Fei and Lü Bu as they do battle.
Pipa Solo: Improvisation
“The General’s Orders Stir the Mountains and Rivers”
All Desolate on the Eastern Campaign (puppets)
Another martial song, this inspires the troops’ preparations for battle.
A drama evoking the threat to the Tang empire from the Korean kingdom of Koguryo.
58
@ArtsAndLectures
Wu Man, pipa Recognized as the world’s premier pipa virtuoso and leading ambassador of Chinese music, Wu Man has carved out a career as a soloist, educator and composer giving her lute-like instrument – which has a history of more than 2,000 years in China – a new role in both traditional and contemporary music. Through numerous concert tours, Wu has premiered hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create awareness of China’s ancient musical traditions. Her adventurous spirit and virtuosity have led to collaborations across artistic disciplines, allowing Wu to reach wider audiences as she works to break through cultural and musical borders. Wu’s efforts were recognized when she was named Musical America’s 2013 Instrumentalist of the Year, marking the first time this prestigious award has been bestowed on a player of a non-Western instrument. Having been brought up in the Pudong School of pipa playing, one of the most prestigious classical styles of Imperial China, Wu is now recognized as an outstanding exponent of the traditional repertoire as well as a leading interpreter of contemporary pipa music by today’s most prominent composers. She was the first Chinese traditional musician to receive the United States Artist Fellowship in 2008 and was awarded the Bunting Fellowship at Harvard University in 1998. She is the first artist from China to perform at the White House. Her discography of more than 40 albums includes the Grammy Award-winning Sing Me Home with the Silk Road Ensemble, which features her original composition Green (Vincent’s Tune); the Grammynominated recordings Our World in Song, Traditions and Transformations: Sounds of the Silk Road Chicago; her recording of Tan Dun’s Pipa Concerto with Yuri Bashmet and the Moscow Soloists; and You’ve Stolen My Heart featuring Wu Man and the Kronos quartet. She frequently collaborates with the Kronos and Shanghai Quartets, the Knights and the Silk Road Ensemble. She is a featured artist in the documentary The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble, seen in theaters in 2016.
and Cleveland. With the Silk Road Ensemble, she performs in cities across the Northeast, with further tour dates to be announced. Additional highlights include a Washington, D.C., performance of A Chinese Home, Wu’s 2009 evening-length multimedia work co-created with Kronos Quartet violinist David Harrington and director Chen Shi-Zheng; concerts in Europe and the Middle East as part of the Aga Khan Music Initiative; and recitals in New Haven, Phoenix, Portland, Ore., and San Diego, among other cities in the U.S. Born in Hangzhou, China, Wu studied with Lin Shicheng, Kuang Yuzhong, Chen Zemin and Liu Dehai at the Central Conservatory of Music in Beijing, where she became the first recipient of a master’s degree in pipa. Accepted into the conservatory at age 13, Wu’s audition was covered by national newspapers and she was hailed as a child prodigy, becoming a nationally recognized role model for young pipa players. She subsequently received first prize in the First National Music Performance Competition among many other awards, and she participated in many premieres of works by a new generation of Chinese composers. Wu’s first exposure to western classical music came in 1979 when she saw Seiji Ozawa and the Boston Symphony Orchestra performing in Beijing. In 1980, she participated in an open master class with violinist Isaac Stern and in 1985, she made her first visit to the United States as a member of the China Youth Arts Troupe. Wu moved to the U.S. in 1990 and currently resides with her husband and son in California. For more information visit wumanpipa.org. Follow Wu Man on Facebook and @wumanpipa. Exclusive Management: Opus 3 Artists 470 Park Avenue South 9th Floor North New York NY 10016 www.opus3artists.com Special thanks to
Highlights of Wu’s 2017-18 season include U.S. tours with the China NCPA Orchestra, Huayin Shadow Puppet Band and the Silk Road Ensemble, of which she is a founding member. With the China NCPA Orchestra, she performs Lou Harrison’s Pipa Concerto, which the composer wrote for her and which she premiered in 1997. After performing the work in Beijing, she and the orchestra tour to Chicago, San Francisco and Ann Arbor. She tours with the Huayin Shadow Puppet Band (formerly known as the Zhang Family Band) to 11 U.S. cities, including New York, Boston, Washington, D.C., Santa Barbara, Berkeley
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
59
Robert Sapolsky
Behave: The Biology of Humans at Our Best and Worst photo: Thompson McClellan Photography
Tue, Mar 13 / 7:30 PM (note special time) / Campbell Hall
As a boy in New York City, Robert M. Sapolsky dreamed of living inside the African dioramas in the Museum of Natural History. By the age of 21, he made it to Africa and joined a troop of baboons. Although the life of a naturalist appealed to him because it was a chance to “get the hell out of Brooklyn,” he never really left people behind. In fact, he chose to live with the baboons because they are perfect for learning about stress and stress-related diseases in humans. Like their human cousins, baboons live in large, complex social groups and have lots of time, Sapolsky writes, “to devote to being rotten to each other.” Just like stressedout people, stressed-out baboons have high blood pressure, high cholesterol and hardened arteries. And just like people, baboons are good material for stories. His gift for storytelling led The New York Times to suggest, “If you crossed Jane Goodall with a borscht-belt comedian, she might have written a book like A Primate’s Memoir,” Sapolsky’s account of his early years as a field biologist. The uniqueness of Sapolsky’s perspective on the human condition comes from the ease with which he combines his insights from the field with his findings as a neuroscientist. For more than 30 years, Sapolsky has divided his time between field work with baboons and highly technical neurological research in the laboratory. The problem for people, as Sapolsky explains in his book Why Zebras Don’t Get Ulcers, is that our bodies’ stress response evolved to help us get out of short-term physical emergencies – if a lion is chasing you, you run. But such reactions, he points out, compromise long-term physical
60
health in favor of immediate self-preservation. Unfortunately, when confronted with purely psychological stressors, such as troubleshooting the fax machine, modern humans turn on the same stress response. “If you turn it on for too long,” notes Sapolsky, “you get sick.” Sapolsky regards this sobering news with characteristic good humor, finding hope in “our own capacity to prevent some of these problems… in the small steps with which we live our everyday lives.” Sapolsky is a MacArthur Fellow, a professor of biology and neurology at Stanford University and a research associate with the Institute of Primate Research at the National Museum of Kenya. In addition to A Primate’s Memoir Sapolsky has written three other books, including The Trouble with Testosterone, Why Zebras Don’t Get Ulcers and Monkeyluv: And Other Essays on our Lives as Animals. Sapolsky was awarded Rockefeller University’s Lewis Thomas Prize for Writing about Science for 2008. His articles have appeared in publications such as Discover and The New Yorker, and he writes a biweekly column for the Wall Street Journal entitled “Mind & Matter.” His new book is Behave: The Biology of Humans at Our Best and Worst. Books are available for purchase in the lobby and a signing follows the event
Special thanks to
@ArtsAndLectures
Buddy Guy Fri, Mar 16 / 8 PM / Granada Theatre
photo: Josh Cheuse
Buddy Guy, vocals, guitar Marty Sammon, keys Tim Austin, drums Ric Hall, guitar Orlando Wright, bass
At age 81, Buddy Guy is a Rock and Roll Hall of Fame inductee, a major influence on rock titans like Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan, a pioneer of Chicago’s fabled West Side sound and a living link to the city’s halcyon days of electric blues. Buddy Guy has received seven Grammy Awards, a 2015 Lifetime Achievement Grammy Award, 37 Blues Music Awards (the most any artist has received), the Billboard magazine Century Award for distinguished artistic achievement, a Kennedy Center Honor and the National Medal of Arts. Rolling Stone magazine ranked him No. 23 in its 100 Greatest Guitarists of All Time.
In 1957, he took his guitar to Chicago, where he would permanently alter the direction of the instrument, first on numerous sessions for Chess Records playing alongside Howlin’ Wolf, Muddy Waters and the rest of the label’s legendary roster, and then on recordings of his own. His incendiary style left its mark on guitarists from Jimmy Page to John Mayer.
Buddy Guy released his latest studio album Born to Play Guitar on July 31, 2015, via Silvertone/RCA Records, which debuted at No. 1 on Billboard’s Top Blues Albums chart. The follow-up to his 2013 first-ever double disc release, Rhythm & Blues, which also debuted at No. 1 on Billboard’s Top Blues Albums chart, Born to Play Guitar was produced by Grammy Award winning producer/songwriter and Guy’s longtime collaborator Tom Hambridge. The release features guest appearances by Van Morrison, Joss Stone, Kim Wilson and Billy Gibbons.
Seven years later, July 2012 proved to be one of Buddy Guy’s most remarkable years ever. He was awarded a 2012 Kennedy Center Honor for his lifetime contribution to American culture; earlier in the year, at a performance at the White House, he even persuaded President Obama to join him on a chorus of “Sweet Home Chicago.” Also in 2012, he published his long-awaited memoir, When I Left Home.
Though Buddy Guy will forever be associated with Chicago, his story actually begins in Louisiana. One of five children, he was born in 1936 to a sharecropper’s family and raised on a plantation near the small town of Lettsworth, located some 140 miles northwest of New Orleans. Guy was just 7 years old when he fashioned his first makeshift “guitar” – a twostring contraption attached to a piece of wood and secured with his mother’s hairpins.
“He was for me what Elvis was probably like for other people,” said Eric Clapton at Guy’s Rock and Roll Hall of Fame induction in 2005. “My course was set, and he was my pilot.”
These many years later, Buddy Guy is a genuine American treasure and one of the final surviving connections to an historic era in the country’s musical evolution. He keeps looking to the future of the blues through his ongoing work with his young protégé, Quinn Sullivan. Special thanks to
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
61
Santa Barbara Independent Schools
Spotlight on Excellence setting The Stage for success… Anacapa School • 7–12 Bishop Garcia Diego High School • 9–12 Crane Country Day School • K–8 El Montecito School • Preschool–6 Garden Street Academy • K–12 Howard School • Preschool–8 The Knox School of Santa Barbara • K–8 Laguna Blanca School • EK–12 Marymount of Santa Barbara • JK–8 Montessori Center School • Toddler–6 Providence, A Santa Barbara Christian School • PS–12 Santa Barbara Middle School • 6–9 The Waldorf School of Santa Barbara • Preschool–8
SBIndependentSchools.com
Thank You to Our Generous Sponsors
sbramada.com (805) 964-3511 (800) 654-1965 Ramada Santa Barbara
4770 Calle Real, Santa Barbara, CA 93110
Complimentary deluxe continental breakfast with freshly grilled waffles In room refrigerators, microwaves, coffee makers and irons Complimentary wireless high speed internet access Save up Free Parking with Three Electric Charging Stations to $650 with the Ramada Santa Year-Round Solar Heated Pool and Spa
Barbara Value Pass on Restaurants, Wine Tasting & More!
Please join us on Social Media and share your photos:
/sbramada
WINTER 2018 PERFORMANCE SEASON SANTA BARBARA DANCE THEATER JAN 17 - 21 HATLEN THEATER
THE WORLD OF EXTREME HAPPINESS FEB 16 - 25 PERFORMING ARTS THEATER a LAUNCH PAD prevew production
STAGING THE DAFFY DAME MAR 2 - 11 STUDIO THEATER
Photo by David Bazemore
Goleta's favorite boutique hotel and restaurant | Featuring 5,000 sq. ft. of indoor & outdoor event space For bookings please contact: sales@thegoodland.com
Two Nights! Two Programs!
27 Years in Santa Barbara
photo: John Price (John Shiu, Cascade Mountain, Banff National Park)
A browser’s paradise Over 100,000 titles in stock
40 years of excellent customer service
Locally owned and operated 3321 State St. Santa Barbara Loreto Plaza
www.chaucersbooks.com
(805) 682-6787
Tue, Feb 27 & Wed, Feb 28 7:30 PM / Arlington Theatre $17 / $13 UCSB students and youth (18 & under) An Arlington facility fee will be added to each ticket price
FIND OUR SECRET HIDEWAY IN THE HEART OF SANTA BARBARA spanishgardeninn.com
Unwind At Our All-Suite
Garden Oasis 87 suites featuring private bedrooms Expanded living areas with balconies or patios Plush bathrobes, bottled water and mini fridge Complimentary evening wine reception Monday - Thursday Complimentary Wi-Fi Complimentary cooked-to-order breakfast Minutes from UCSB, Isla Vista, Santa Barbara Airport and the Goleta Valley
5490 HOLLISTER AVE | SANTA BARBARA, CA 93111 | 805-683-6722 | PACIFICASUITES.COM
LOCAL STARS SHINE CENTER STAGE Our experienced staff will handle the details so you can enjoy the show.
Enjoy the Parker Wine Tasting Experience in the lobby, the delicious new menu in Rodney’s Grill, or Happy Hour with an Ocean View at The Set. Locals Welcome and parking while dining is always complimentary.
633 East Cabrillo Blvd, Santa Barbara, CA 93103 805.564.4333 • www.fpdtr.com
COAST TO THE BEACH & THE HEART OF SANTA BARBARA
109 BATH ST. | SANTA BARBARA | (805) 963-8845 | FRANCISCANINN.COM
EE Arts & Lectures Winter program full page 8x10.5 ad 1117.indd 1
11/21/17 4:30 PM
A Global Community Founded in Santa Barbara 43 years ago, Fielding Graduate University is dedicated to educating scholars, leaders and practitioners in pursuit of a more just and sustainable world.
www.Fielding.edu