2016/17 Season Brochure by Duke Performances

DU KE PERFO R MAN CES

2 0 1 6 / 2 0 1 7 S E A S O N | M U S I C , T H E AT E R , D A N C E & M O R E .

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IN DURHAM, AT DUKE, ES S EN TI AL ART.

DUKE PERFORMANCES

HELLO & WELCOME Our work at Duke Performances is animated by the abiding idea — which has been fostered at Duke University for more than seventy years — that engaging seriously with art will help our patrons and students to lead deeper, richer, and more fulfilling lives. World class artists have been performing at Duke since 1945, when an enlightened group of émigré faculty started the Chamber Arts Society to present exceptional chamber music in Durham. In 1956, Duke’s legendary doyenne of the arts, Ella Fountain Pratt, launched the Duke Artists Series, which filled Page Auditorium for many years with extraordinary performers. In 1984, the University created the Institute for the Arts to better bring the arts into the intellectual life of the campus. 2004 marked the inaugural season of Duke Performances, an organization that has worked diligently to sustain and grow the rich legacy of the arts at Duke. Running in tandem with this long history of live arts at Duke is an equally vital timeline of performance in Durham. The 1920s and ’30s brought the booming tobacco business and with it the advent of the Piedmont blues, a musical style that grew up around the red brick warehouses of the Bull City. In 1959, bluegrass pioneers Flatt & Scruggs (anchored on banjo by NC native Earl Scruggs) performed “Durham’s Reel” at NYC’s Carnegie Hall. In 1978, the American Dance Festival moved its base of operations to Durham and has, for nearly four decades, been a vital hub for the national dance scene. In 2003, hip-hop producer 9th Wonder started the acclaimed group Little Brother with two classmates from NC Central; he’s now a multi-GRAMMY winner running the burgeoning Durham-based Jamla Records. Duke Performances aims to amplify the rich cultural life of Durham and the broader Piedmont — we are proud of the curiosity, diversity, and sense of connection that’s abundant here. The nearly sixty presentations on the 2016/17 season represent our ambition to embrace the transformative potential of art and to express, through performance, Duke University’s most high-minded priorities. During this season, we’re featuring a large quantity of work that puts artists from different genres, different styles, and different generations in collaboration. These collaborations might marry an emcee with a string quartet, a rock singer with a percussion ensemble, or a dance company with a jazz orchestra, creating a new kind of work between them. It’s our hope that these projects — often wildly ambitious — will provide our campus and community with a platform for deeper exploration and more meaningful conversation. In exploring the season we hope that you will take the opportunity to push beyond your areas of comfort and make time to see performances which might be unfamiliar. The trick to navigating the season is stacking as many different kinds of shows as possible on your agenda — don’t be timid, since you’ll gain most by charting your way adventurously. Following this method, you’ll find yourself engaging with work that is both foundational and on the leading edge, both hyperlocal and international. It will help you better know yourself and those amongst whom you live, making your lives undeniably deeper, richer, and more fulfilling.

AARON GREENWALD EXECUTIVE DIRECTOR OF DUKE PERFORMANCES

C O V E R I M A G E : A N T H O N Y M CG I L L , A P P E A R I N G AT D P O N S AT U R D AY, J A N U A R Y 2 1 . P H O T O B Y PA R I D U K O V I C .

AARON NEVILLE “WHEN NEVILLE OPENS HIS MOUTH, OUT FLOATS A HEAVENLY CHOIR — A FALSETTO AS LIGHT AS GOSSAMER AND AS RICH AS BUTTER.” — LOS ANGELES TIMES F R ID AY, S E P TE MB E R 23 | 8 P M BAL D WIN A UDI TORIUM

Tickets: $62 • $52 • $15 Ages 30 & Under • $10 Duke Students

No one else sounds like Aaron Neville. His falsetto is instantly recognizable, whether in the second line jazz and funk of his beloved New Orleans as one of the Neville Brothers, or in his GRAMMY-winning duets with Linda Ronstadt. “He’s the most soulful of singers, maybe in all of recorded history,” said avowed fan Bob Dylan. “If angels sing, they must sing in that voice.” Fifty years after his breakout single, the soul classic Tell It Like It Is, he is an essential American artist. To kick off Duke Performances’ 2016/17 season, Aaron Neville comes to Durham with longtime pianist Michael Goods for an evening of songs and stories. Neville will sing his favorite classics from rhythm and blues, soul, and even the street-corner doowop of his youth. This stripped-down encounter in the intimate setting of Baldwin Auditorium will show off both the songs he loves and his famously expressive voice, an unmatched instrument in American music.

2016 | 2017

DUKE PERFORMANCES

CHAMBER ARTS SERIES

JAZZ @ 21C

DOVER QUARTET

BILLY HART QUARTET

“ONE OF THE BRIGHTEST LIGHTS OF THEIR MUSICAL GENERATION.” — PERFORMANCE TODAY

FEAT. MARK TURNER, BEN STREET & ETHAN IVERSON

SATURDAY, SEPTEMBER 24 | 8 PM BALDWIN AUDITORIUM

SUNDAY, SEPTEMBER 25 | TWO SETS: 5 PM & 7:30 PM 21C MUSEUM HOTEL DURHAM

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Tickets: $34 • $10 Duke Students | General Admission Seating

The Dover Quartet shot to prominence after taking first prize at the 2013 Banff International String Quartet Competition. The Chicago Tribune hails their “expert musicianship, razor-sharp ensemble, deep musical feeling, and palpable commitment to communication.” This ensemble is the first to be given the position of Quartet in Residence at the Curtis Institute.

The New York Times praises Billy Hart as “a drummer of earthy enlightenment, conversant in every branch of modern jazz but forever connected to its root.” That root comes from decades spent playing alongside the greatest talents in jazz: Miles Davis, Herbie Hancock, Stan Getz, and McCoy Tyner. More than half a century and hundreds of records into a storied career, Billy Hart still plays with precision and soul.

Their concert includes two late string quartets by absolute masters of the form: Mozart’s lilting penultimate string quartet, and Beethoven’s deeply expressive Quartet No. 13, played here with its original final movement — the continuously astounding Grosse Fuge — which Stravinsky said “will be contemporary forever.” Beethoven’s quartet, a recording of which wanders the stars aboard the Voyager I probe, inspired David Ludwig’s new work, Pale Blue Dot. Ludwig, the grandson of pianist Rudolf Serkin and the nephew of pianist Peter Serkin, writes music “supercharged with electrical energy and raw emotion” (Fanfare Magazine).

This living legend brings to Duke Performances his eponymous combo, the Billy Hart Quartet. Elder statesman Hart joins three next-generation stars: The Bad Plus pianist Ethan Iverson, tenor saxophonist Mark Turner, and bassist Ben Street. After more than a decade together, as well as two acclaimed recordings on the ECM label, this quartet has developed a “tight yet fluid interplay” (NPR) found only in jazz artists connecting at the absolutely highest level. Hear these seldom-touring masters live at the 21C ballroom, a 150-seat space at one of Durham’s most stylish boutique hotels. Jazz at the 21C is presented in collaboration with the 21C Museum Hotel Durham.

PROGRAM Mozart: String Quartet in B-flat Major, K. 589 David Ludwig: Pale Blue Dot Beethoven: String Quartet No. 13 in B-flat Major, op. 130 / Grosse Fuge, op. 133

2 5% P I C K- F O U R O R M O R E D I S C O U N T

Take 25% off your total price when you buy tickets to four or more shows from Duke Performances’ 2016/17 season. 2016 | 2017

DUKE PERFORMANCES T H E AT E R

P I A N O R EC I TA L S E R I E S

THE CIVILIANS THE UNDERTAKING

SIMONE DINNERSTEIN, PIANO

TH UR SD A Y, SEP TE MB E R 29 | 8 P M FR ID AY, S EP TE MB E R 30 | 8 P M S A T UR D A Y, OCTOB ER 1 | 3 P M & 8 P M S H EAF ER LA B THE A TE R

FRIDAY, SEPTEMBER 30 | 8 PM B AL D W I N AU D I TO R I U M

Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

Tickets: $28 • $15 Ages 30 & Under • $10 Duke Students General Admission Seating

The Civilians, practitioners of investigative theater, create their work like researchers of the national consciousness. They build their kaleidoscopic shows out of hundreds of conversations about life’s most vital questions with regular people and experts alike, then use these conversations as the basis of each script, enlivening their interlocutors’ words with invigorating theatrical style. Topics they have investigated for their deeply engaging and entertaining plays include environmental catastrophe, urban gentrification, animal neglect, and evangelicalism, to name just a few. New York Magazine called The Civilians a “giddily sociological theater company.” This boundary-breaking troupe presents their newest play, The Undertaking, a creative investigation of one of the last great cultural taboos: death. This piece looks at the ways we deal with the end of life and asks profound questions: what might happen to our bodies and souls after we die, and how does dying change what it means to be alive? The show’s verbatim stories play out as attempts at finding truth, and reflect the complexity, humor, pathos, and idiosyncrasies of our lived experience. The Civilians’ show comes to Duke directly from its premiere at the Brooklyn Academy of Music.

Simone Dinnerstein first vaulted into prominence when her self-financed recording of Bach’s Goldberg Variations became an unexpected sensation. A decade later, she is in high demand by concert presenters from the Kennedy Center to the Wigmore Hall, and is celebrated for the “majestic originality of her vision” (The Independent). Her past visits to Duke Performances have bolstered her reputation as a risk-taking artist, from her collaboration with songwriter Tift Merritt to her fresh interpretations of the works of Bach and Chopin. Dinnerstein returns to Durham with an electrifying program, alternating Franz Schubert’s lyrical Impromptus with modern master Philip Glass’ rippling Études, finding surprising commonalities across the centuries. The evening’s highlight is Schubert’s final Sonata, D. 960, the crowning achievement of his brief career. The Seattle Times gave Dinnerstein’s performance of the Schubert a glowing review, calling it “breathtakingly beautiful in her hands,” while The Washington Post declared that her interpretation is endowed with “an astonishing richness of opulence, brilliance, and quiet clarity.”

Made possible, in part, with support from the Office of the Vice Provost for the Arts & Council for the Arts Visiting Artist Program, as well as the Department of Theater Studies & the Center for Documentary Studies at Duke University.

PROGRAM Philip Glass: Metamorphosis One Schubert: Impromptu op. 90, no. 1 in C Minor, D. 899 Philip Glass: Étude No. 6

NEW PLAY WORKSHOP READING

Schubert: Impromptu op. 90, no. 2 in E-flat Major, D. 899 Philip Glass: Étude No. 16

SA TURDA Y, JA NU A RY 28 | 8 P M R EYNOLDS I NDU S T RIE S T HE A T E R

Schubert: Impromptu op. 90, no. 3 in G-flat Major, D. 899

Tickets: $10 | General Admission Seating

The Civilians return to Duke Performances to workshop a new play by Ethan Lipton about the corporatization of U.S. public education. A playwright, performer, and songwriter, Lipton is best known for his plays Luther — a New York Times Critics’ Pick, with five stars from TimeOut NY — and the Obie-winning No Place To Go, which was presented at The Public Theater. 2016 | 2017

Schubert: Impromptu op. 90, no. 4 in A-flat Major, D. 899 Philip Glass: Étude No. 2 Schubert: Piano Sonata in B-flat Major, D. 960

DUKE PERFORMANCES

MIVOS QUARTET & SAUL WILLIAMS

“ONE OF AMERICA’S MOST DARING AND FEROCIOUS NEW MUSIC ENSEMBLES.” — THE CHICAGO READER H I P -H O P I N I T I AT I V E

MIVOS QUARTET

SAUL WILLIAMS & MIVOS QUARTET

T HURSD AY, OCTOB E R 6 | 8 P M N EL SO N MUSI C ROOM

Tickets: $24 • $15 Ages 30 & Under • $10 Duke Students General Admission Seating (in the round)

F R I D AY, O C TO B E R 7 | 8 PM NE L S O N M U S I C R O O M

The Mivos Quartet are the most compelling ambassadors new music could ask for. “This vital young New York string quartet embraces toothy modernism with punk-rock verve,” wrote The New York Times of their arresting performances. In addition to playing existing modern masterpieces, they are helping to birth tomorrow’s classic repertoire by commissioning new works from daring contemporary composers. The Mivos play one of their signature pieces, a quartet by the German composer Helmut Lachenmann that miraculously expands the vocabulary of sounds for stringed instruments. They also offer Arcadiana, a spellbinding set of miniature portraits of vanished idylls by the prodigiously talented British composer Thomas Adès (who will visit Duke Performances as a pianist only two weeks after the Mivos). The Mivos conclude by expanding on their usual contemporary repertoire with an arrangement of Bach’s unfinished quadruple fugue from his paramount achievement, The Art of the Fugue.

PROGRAM Helmut Lachenmann: String Quartet No. 3 (“Grido”) Thomas Adès: Arcadiana Bach: Contrapunctus XIX from The Art of the Fugue, BWV 1080, arr. Patrick Higgins

Tickets: $28 • $15 Ages 30 & Under • $10 Duke Students General Admission Seating (in the round)

The Mivos follow their instrumental performance by welcoming to the stage the legendary spoken-word artist Saul Williams. The performer whom CNN calls “hip-hop’s poet laureate” developed his voice in the slam poetry crucible Nuyorican Poets Café before taking a leading role in the 1998 Sundance-winner Slam. He has since collaborated with Nine Inch Nails’ Trent Reznor and published acclaimed collections of poetry. Williams’ work — an incendiary mixture of “firebrand politics with metaphysical wordplay” (AV Club) — is complemented and amplified by the Mivos Quartet. The evening centers on Williams’ blistering poem NGH WHT, an exploration and demolition of stereotypes drawn from his 2006 book The Dead Emcee Scrolls. His words are set to music by German composer Thomas Kessler, who originally made his orchestration of Williams’ poem for the Arditti Quartet. (The Arditti appear at Duke Performances in April.) The program also includes the Mivos’ setting of Williams’ poem Colton as Cotton, as well as the Quartet’s arrangement of No One Ever Does by Williams and Trent Reznor from the 2007 album The Inevitable Rise and Liberation of NiggyTardust! Saul Williams & Mivos Quartet are presented as part of Duke Performances’ Hip-Hop Initiative, made possible, in part, with support from the Mary Duke Biddle Foundation.

2016 | 2017

DUKE PERFORMANCES

ZAKIR HUSSAIN, TABLA BLONDE REDHEAD & NILADRI KUMAR, SITAR PLAY MISERY IS A BUTTERFLY “HUSSAIN, THE ACKNOWLEDGED LIVING MASTER OF THE TABLA, SEEMS TO CARRY THE QUINTESSENCE OF COOL.” — BOSTON GLOBE

“BLONDE REDHEAD IS THE MOST FEARLESS BAND ON THE PLANET.” — HOUSTON PRESS

SAT URD AY, OCTOB E R 8 | 8 P M P AGE AUDI TORIUM

Tickets: $45 • $35 • $30 • $15 Ages 30 & Under • $10 Duke Students

Zakir Hussain is a peerless genius of the tabla, the rhythmic heart of Indian classical music. The New York Times calls him “a fearsome technician but also a whimsical inventor, devoted to exuberant play.” The son of fabled tabla player Ustad Allarakha and descendant of a long line of master musicians, Hussain has devoted decades to becoming a performer whose “virtuosity is barely to be believed” (The Washington Post). Since the passing of Ravi Shankar, Hussain stands alone as India’s greatest classical musician and artistic ambassador to the world. Hussain returns to Duke Performances for a special duo concert with another impeccably-pedigreed superstar: fifth-generation sitar player Niladri Kumar. This young innovator, a member of Hussain’s famed Masters of Percussion, plays with “a silky smoothness that draws gasps of wonder” (London Evening Standard). Though he has become known for cross-genre experimentation with pop, rock, and electronic music, Kumar continues to return to the traditional sounds that form his artistic roots. In this concert at Duke Performances, Hussain and Kumar create an Indian classical duo for the ages.

F R I D AY, O C TO B E R 1 4 | 8 PM R E YNO L D S I ND U S TR I E S TH E ATE R

Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

Blonde Redhead was born through a chance meeting between Japanese frontwoman Kazu Makino and Italian twin brothers Simone and Amedeo Pace in New York City in 1993. Since then, they’ve released nine albums, with Makino and Amedeo’s dreamlike vocals floating over a driving, cinematic soundtrack. With a contemporary sound unlike any other group playing then or now, they are “one of the most revered and inventive independent rock bands of the last decade” (Los Angeles Times). Blonde Redhead play the entirety of their seminal 2004 album Misery is a Butterfly, a layered masterpiece that Pitchfork called “a gorgeous achievement.” The album, which emerged from Makino’s experience of being nearly trampled to death by a horse, emphasizes her otherworldly voice with lush, string-enhanced instrumentation. The band’s live performance of the album, augmented by selections from their catalog, will feature Blonde Redhead and a full string section, making for a remarkable evening with a band that has never stopped pushing forward.

$10 TICKETS FOR DUKE STUDENTS: A MIRACULOUS STUDENT TICKET PRICE

Duke students — both undergraduate & graduate — may purchase tickets to any and all shows on Duke Performances’ 2016/17 season for just $10. Note: Limit of two $10 tickets per student for each presentation. Quantities of available $10 Duke student tickets may be restricted. Duke student ID required at time of purchase. 2016 | 2017

DUKE PERFORMANCES

CHAMBER ARTS SERIES

BELCEA QUARTET

IAN BOSTRIDGE, TENOR & THOMAS ADÈS, PIANO WINTERREISE

“ONE OF THE MOST IMPORTANT NEW QUARTETS IN A GOLDEN AGE OF CHAMBER MUSIC.” — LA PRESSE SAT URD AY, OCTOB ER 15 | 8 P M BAL D WIN A UDI TORIUM

TH U R S D AY, O C TO B E R 2 0 | 8 PM B AL D W I N AU D I TO R I U M

Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

In recent seasons the Belcea Quartet has become a regular presence and an audience favorite at Duke Performances. The reason is clear: even after two decades together, raves The Guardian, they “still play like a young quartet, seizing the music’s energy, shocking us out of our seats with every fortissimo.” The Belcea play two Schubert quartets: the breakthrough Quartet No. 10, written by the sixteen-year-old composer under the tutelage of Salieri; and his epic final quartet, a harmonically daring masterpiece. Between these they have placed one of the towering classics of chamber music, Shostakovich’s Eighth String Quartet. This “musical autobiography,” written in a three-day burst of creativity, quotes from the composer’s previous works to assemble a rich collage of his life’s most significant moments.

PROGRAM Schubert: String Quartet No. 10 in E-flat Major, D. 87 Shostakovich: String Quartet No. 8 in C Minor, op. 110

Tickets: $62 • $52 • $15 Ages 30 & Under • $10 Duke Students

The celebrated English tenor Ian Bostridge sings “as if from inside the music, as if he has found a way to produce pure, disembodied emotion,” declares the Los Angeles Times. This great lieder singer is joined at Duke Performances by the famed composer and pianist Thomas Adès, whom The New York Times praised as “one of the most accomplished and complete musicians of his generation.” What makes Bostridge and Adès’ collaboration a true blockbuster is the piece that brings them together: Winterreise, Schubert’s depiction of a winter journey across a landscape of lost love. This work is a lifelong obsession for Bostridge; Adès, a musical polymath like Bostridge, will bring the profound understanding to Schubert’s piano part that only another master composer can. When these two titans first joined forces, the Telegraph raved, “this was without doubt the most extraordinary, riveting, uncanny performance of Schubert’s great song-cycle I have ever witnessed.” Their performance in Durham, one of only a few in the United States, promises to be one of the can’t-miss events of the season.

Schubert: String Quartet No. 15 in G Major, D. 887

PROGRAM Schubert: Winterreise, D. 911

CHAMBER ARTS SERIES

Subscribe to the Chamber Arts Series: Dover Quartet • Belcea Quartet • Pacifica Quartet feat. Johannes Moser, cello St. Lawrence String Quartet • Barnatan, McGill, Weilerstein Trio • Christian Tetzlaff, violin & Lars Vogt, piano • Hagen Quartet feat. Kirill Gerstein, piano • Alina Ibragimova, violin & Cédric Tiberghien, piano. Get tickets to all eight concerts for $200. 2016 | 2017

VOCAL ENSEMBLE SERIES

SOUTH DAKOTA CHORALE

TYBERG PROJECT: MUSIC LOST IN THE HOLOCAUST

CONDUCTED BY BRIAN SCHMIDT WITH KIT JACOBS0N, ORGAN SATURDAY, OCTOBER 22 | 8 PM D UK E C HA P E L

Tickets: $36 for Preferred Seating $20 • $15 Ages 30 & Under • $10 Duke Students for General Admission Seating

One night in 1943, mere days before he was arrested by the Gestapo and sent to his death at Auschwitz, Viennese composer Marcel Tyberg played a radiant and deeply moving private concert on a church organ for an intimate audience. Then, knowing that his life was in danger, he handed over his complete works to his friends for safekeeping. Tyberg’s scores — among them two masses last performed by Tyberg himself, the entirety of his sacred output — ended up in the United States, where they sat forgotten in a Buffalo archive for decades, waiting for someone to bring them to light. The South Dakota Chorale bring this astonishing story with them to Durham. Under the direction of Brian Schmidt (who also leads Duke Chapel’s resident Vespers Ensemble), the Chorale has established a sterling international reputation. Gramophone praised the ensemble’s “warmth of sound and sonority that is not only notably varied in tone and color, but is all but perfect in blend, ensemble, and intonation.” The twenty-four singers of the Chorale join Duke Chapel’s organist Kit Jacobson in rescuing Marcel Tyberg’s Two Masses for Choir and Organ from the ashes. The Masses are late romantic works on a grand symphonic scale, reminiscent of the music of Tyberg’s compatriots Mahler and Bruckner, with lush harmonic coloring and sweeping melodic gestures. They will also perform Austrian refugee Eric Zeisl’s 1945 Requiem Ebraico, the first piece of music written to memorialize the victims of the Holocaust. Don’t miss this highly anticipated concert, one of the first performances of these newly rediscovered works since the Second World War.

PROGRAM Marcel Tyberg: Mass in F for Choir & Organ Marcel Tyberg: Mass in G for Choir & Organ Eric Zeisl: Requiem Ebraico 2016 | 2017

DANCE

TRISHA BROWN DANCE COMPANY IN PLAIN SITE “HER VIRTUOSIC DANCERS EXHIBIT A QUALITY OF

MOVEMENT THAT IS DISTINCTLY HERS — DARTINGLY QUICK, BUT SO FLUID THAT THE BODY SEEMS A CONDUIT FOR FLOWING ENERGY.” — THE NEW YORK TIMES

FRIDAY, OCTOBER 28 | 5 PM SARAH P. DUKE GARDENS SATURDAY, OCTOBER 29 | 6 PM & 8:30 PM NASHER MUSEUM OF ART SUNDAY, OCTOBER 30 | 2:30 PM & 5 PM SARAH P. DUKE GARDENS

Tickets: $32 • $15 Ages 30 & Under • $10 Duke Students General Admission (audience limited to 180 per show)

Trisha Brown has serious avant-garde and postmodern dance bona fides: she was a founding member of the experimental Judson Dance Theater before striking off on her own in the late 1960s to become a pioneering choreographer. Her work with Trisha Brown Dance Company distilled the form down to pure movement, often taking the work outside of concert halls entirely, with her performers suspended from ceilings and rooftops and dancing down walls. “Works by Brown don’t just challenge our perceptions; they expand our minds and untether our spirits,” wrote The Village Voice. With Brown’s retirement, her company has launched an initiative to breathe new life into her existing masterpieces: In Plain Site, an ambitious project to present Brown’s dances in unconventional new spaces. For their performance at Duke, they will recombine and reshape each work specifically for two iconic locations, The Nasher Museum of Art and the Sarah P. Duke Gardens. These familiar spaces are repurposed to close the distance between dancers and audience, invigorating Brown’s work anew.

Made possible, in part, by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation & The Andrew W. Mellon Foundation; a grant from South Arts in partnership with the National Endowment for the Arts; & with support from the Office of the Vice Provost for the Arts & Council for the Arts Visiting Artist Program, as well as the Dance Program at Duke University.

ANTONIO SANCHEZ BIRDMAN: FILM + LIVE SCORE

S ATU R D AY, O C TO B E R 2 9 | 8 PM R E YNO L D S I ND U S TR I E S TH E ATE R

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

The New York Times calls Antonio Sanchez “one of the standout jazz drummers on the contemporary scene, a polyrhythmic ace attuned to the subtlest dynamic fluctuations.” Jazz fans have known him for years as the top-notch drummer in Pat Metheny’s all-star Unity Group and as a brilliant composer and bandleader in his own right. He broke big in 2014 with his thrillingly propulsive score to Alejandro G. Iñárritu’s frenetic Oscar-winning film Birdman. That score won Sanchez his fifth GRAMMY Award, as well as a new audience. Sanchez vivfies his Birdman score onstage alongside a screening of the film, as he accompanies the Best Picture winner live. Sanchez augments the ceaseless mayhem and unbroken action of the story with a single continuous drum solo, his restless rhythms tracing the frenzied interplay of the all-star ensemble cast, including Michael Keaton, Zach Galifianakis, Edward Norton, Emma Stone, and Naomi Watts. It’s a feat of incredible athleticism, coordination, and style, and an event no fan of music or film should miss.

DUKE PERFORMANCES

CHAMBER ARTS SERIES

P I A N O R EC I TA L S E R I E S

PACIFICA QUARTET

SERGEI BABAYAN, PIANO

JOHANNES MOSER, CELLO

S ATU R D AY, NO V E M B E R 1 2 | 8 PM B AL D W I N AU D I TO R I U M

FEATURING

SAT URD AY, NOV E MB E R 5 | 8 P M BAL D WIN A UDI TORIUM Tickets: $48 • $42 • $15 Ages 30 & Under • $10 Duke Students

The Telegraph of London called the Pacifica Quartet’s playing “nothing short of phenomenal, with new dimensions of interpretative depth and a subtle fusion of intensity and clarity.” After delighting Durham audiences with clarinet quintets five seasons ago, the GRAMMY-winning ensemble return with another rare chamber combination: the cello quintet. They are joined by cellist Johannes Moser, whom Gramophone declared “one of the finest among the astonishing gallery of young virtuoso cellists.” The Pacifica’s concert pairs contrasting cello quintets, one classical and one contemporary. The newer piece is a world premiere from Julia Wolfe, winner of the 2015 Pulitzer Prize in Music for her oratorio Anthracite Fields. The classical offering is Franz Schubert’s majestic String Quintet in C Major. Unheard during Schubert’s lifetime, it is now acclaimed as one of the greatest of all chamber works.

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Sergei Babayan was one of the first Soviet pianists to emerge after the fall of the Iron Curtain, and his arrival in the West was a sensation. Twenty-five years after his dramatic arrival on the international scene, this Armenian-born virtuoso is still hailed as a musician’s musician. “Babayan is no mere pianist,” The Scotsman declared. “He is a master-musician for whom the piano is his voice, his orchestra.” Babayan’s “unrivalled touch, perfectly harmonious phrasing, and breathtaking virtuosity” were lauded by Le Figaro. After a decade focused on teaching — he was the teacher of pianist Daniil Trifonov, appearing at Duke Performances on March 31 — he has been called back to the recital stage by popular demand. Babayan arrives at Duke Performances with a powerhouse program. He begins with a dreamlike fantasia by his Russian contemporary Vladimir Ryabov, building to a selection of Chopin’s arch-romantic miniatures, including the famous and poignant Waltz in C-sharp Minor. The highlight of the program is Bach’s thirty Goldberg Variations, the pinnacle of baroque keyboard music.

PROGRAM

PROGRAM Vladimir Ryabov: Fantasia in C minor, op. 21, in memory of Maria Yudina

Julia Wolfe: Cello Quintet — World Premiere

Chopin: Polonaise op. 26, no 1 in C-sharp Minor

Schubert: String Quintet in C Major, D. 956

Chopin: Valse op.64, no. 2 in C-sharp Minor Chopin: Barcarolle op. 60 in F-sharp Major Chopin: Valse op. 69, no. 2 in B Minor

Julia Wolfe’s Cello Quintet was commissioned for Johannes Moser & the Pacifica Quartet by Duke Performances at Duke University, the Schubert Club, Portland Friends of Chamber Music & by Elizabeth and Justus Schlichting for the Segerstrom Center for the Arts.

Chopin: Impromptu op. 29, no. 1 in A-flat Major Chopin: Ballade No. 3 in A-flat Major, op. 47 Bach: Goldberg Variations, BWV 988

P I A N O R E C I TA L S E R I E S

Subscribe to the Piano Recital Series: Simone Dinnerstein • Sergei Babayan • Jeremy Denk Kirill Gerstein • Daniil Trifonov • Richard Goode. Get tickets to all six concerts for $195. 2016 | 2017

DUKE PERFORMANCES

SHARA WORDEN & SO¯ PERCUSSION SHARA WORDEN & SO¯ PERCUSSION

MY BRIGHTEST DIAMOND SATURDAY, NOVEMBER 19 | 9 PM MOTORCO MUSIC HALL

Tickets: $24 • $15 Ages 30 & Under • $10 Duke Students General Admission • Limited Seating

FRIDAY, NOVEMBER 18 | 8 PM BALDWIN AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Singer and guitarist Shara Worden is the protean powerhouse behind My Brightest Diamond. For this performance, she joins the innovative quartet So¯ Percussion, who play with “an exhilarating blend of precision and anarchy, rigor and bedlam” (The New Yorker). So¯ Percussion began by performing modern percussion classics by John Cage and Steve Reich, but have since expanded their mission to commission new works from some of the best composers writing today. So¯ play one of their signature works, Reich’s Music For Pieces of Wood, their performance of which The New York Times declared “was like watching whirling dervishes enter an intensely focused, disciplined trance.” They also play Music For Wood and Strings, by The National guitarist Bryce Dessner, a work written especially for So¯. The concert culminates in Timeline, a vibrant forty-five-minute song cycle recently commissioned from Shara Worden and So¯ Percussion by Carnegie Hall.

My Brightest Diamond is the brainchild of captivating singer and guitarist Shara Worden, who “moves effortlessly between the worlds of indie rock and contemporary classical music” (The New York Times). This former child evangelist, operatically-trained singer, and one-time Sufjan Stevens protégé has released five albums in the past decade under the My Brightest Diamond moniker, all the while collaborating on the side with musical pathbreakers like David Byrne, Laurie Anderson, and The Decemberists. My Brightest Diamond builds angular art-rock around Worden’s unmistakable voice, an arresting combination that is even more striking when heard live. For this show, they will take the stage at Motorco, embracing the intimate rock club setting. They’ll perform songs from across their catalog, including brand new material. Pitchfork wrote that their 2014 album This Is My Hand “works on a visceral level, conjuring Worden’s intended image of tribal, fireside collaboration through a rich diversity of texture, detail, and tone.”

PROGRAM Steve Reich: Music for Pieces of Wood Bryce Dessner: Music for Wood and Strings Shara Worden & So¯ Percussion: Timeline

2016 | 2017

DUKE PERFORMANCES

VOCAL ENSEMBLE SERIES

CHANTICLEER A CHANTICLEER CHRISTMAS

CHARLES LLOYD & THE MARVELS FEAT. BILL FRISELL, REUBEN ROGERS ERIC HARLAND & GREG LEISZ

SUNDAY, NOVEMBER 27 | 7 PM BALDWIN AUDITORIUM THURSDAY, DECEMBER 1 | 8 PM PAGE AUDITORIUM

Tickets: $48 • $42 • $15 Ages 30 & Under • $10 Duke Students

The twelve singers of Chanticleer have been acclaimed as “the world’s reigning male chorus” (The New Yorker), and are renowned for a signature sound “breathtaking in its accuracy of intonation, purity of blend, variety of color, and swagger of style” (The Boston Globe). Over their nearly four decades in existence, the group has played an essential role on the early music scene, while also bringing their elegant musicianship to contemporary works. Whether singing the works of William Byrd or Charles Ives, they are note-perfect. Chanticleer return to Duke Performances with A Chanticleer Christmas. This seasonal concert “moves from medieval chant to American spirituals, European choral works to contemporary arrangements of Christmas carols,” wrote the San Jose Mercury News. “Singing in English, Latin, German, Spanish, and Russian, the ensemble’s phrasing was flawless, its dynamics crisp and polished.” Chanticleer mixes musical virtuosity, creative programming, and outright fun to create a singular holiday experience.

Tickets: $45 • $35 • $30 • $15 Ages 30 & Under • $10 Duke Students

Charles Lloyd was named an NEA Jazz Master in 2015, and for good reason: BBC Radio 3 called him “one of the greatest saxophonists on the planet, never afraid of experiment, but never out of touch with his audience.” With legendary collaborators like Cannonball Adderley and Keith Jarrett, and blockbuster records like 1967’s Forest Flower with his eponymous quartet, this jazz lifer has proven himself a versatile and generous sideman as well as a trailblazing bandleader. Lloyd comes to Duke Performances with The Marvels, a group that pairs him with another legendary collaborator: the great Bill Frisell, “one of the most distinctive and original improvising guitarists of our time” (The New York Times). The Marvels' 2016 Blue Note album I Long to See You featured elegant takes on American hymns, folk anthems, and protest songs. NPR called their collaboration “music that evokes an uncommon state of grace.”

PROGRAM The program for this Christmas concert will include traditional carols, medieval plainsong, renaissance compositions by Byrd, Praetorius, and Gabrieli, more contemporary works from Ives and Poulenc, and Franz Biebl’s Ave Maria for double male choir. Complete program to be announced on dukeperformances.org by Fall 2016.

VOCAL ENSEMBLE SERIES

Subscribe to the Vocal Ensemble Series: South Dakota Chorale • Chanticleer • Estonian Philharmonic Chamber Choir Eric Whitacre Singers • Cappella Pratensis. Get tickets to all five concerts for $150. 2016 | 2017

FROM THE ARCHIVES

WORLD PREMIERE

GERALD CLAYTON & THE ASSEMBLY PIEDMONT BLUES

FEATURING

LIZZ WRIGHT

“CLAYTON IS A PIANIST OF GREAT TOUCH AND SOULFUL EXPOSITION.” — THE NEW YORK TIMES “THE PIEDMONT BLUES IS A CONSTANT BALANCE BETWEEN SWEET AND SOUR.” — LIZZ WRIGHT

F R I D AY, D E C E M B E R 2 & S ATU R D AY, D E C E M B E R 3 | 8 PM R E YNO L D S I ND U S TR I E S TH E ATE R Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Gerald Clayton “has proved himself one of the standout jazz pianists of his generation, possessed of silvery technique and an intent but relaxed way with a phrase” (The New York Times). This young jazz master grew up playing with his father John Clayton and uncle Jeff Clayton in their Clayton Brothers combo. He’s since forged his own path, leading his eponymous multi-GRAMMY-nominated trio and holding down the piano chair in Charles Lloyd’s quartet. Duke Performances has commissioned Clayton to make Piedmont Blues, a sprawling live concert tribute to the Piedmont blues — a musical style defined by ragtime rhythms, fingerpicking guitar, and understated vocals twinned with searing lyrics — that grew up around the tobacco warehouses of Durham in the 1920s and ’30s, when the Bull City was the largest cigarette manufacturer in the world. Though the most famous exponents of the Piedmont blues — Blind Boy Fuller, Reverend Gary Davis, and Etta Baker — have passed, a few musicians still keep the tradition alive. Clayton and his collaborator, theater director Christopher McElroen, have made a half-dozen research visits to Durham to learn from and work alongside these musical elders in preparation for this major new show. This live concert presentation features Clayton’s Piedmont blues-inspired compositions written for The Assembly, a top-tier nine-piece jazz ensemble featuring the luminous singer Lizz Wright. Entwined with the music is an assemblage of projected film, new and archival photography, and Southern folklore underscoring the verdant cultural landscape of the Piedmont region. Don’t miss the world premiere of this essentially Durham project. PIEDMONT BLUES Conceived & Composed by Gerald Clayton Directed by Christopher McElroen Piedmont Blues personnel: Gerald Clayton, piano Lizz Wright, vocals Logan Richardson, alto sax Tivon Pennicott, tenor sax Dayna Stephens, baritone sax Becca Stevens, guitar Joe Sanders, bass Kendrick Scott, drums Maurice Chestnut, tap dancer Union Baptist Gospel Choir, Ray Watkins, musical director Duke Performances | Duke University is the lead commissioner of Piedmont Blues Project; co-commissioners include the Modlin Center for the Arts at University of Richmond, the Savannah Music Festival & Strathmore. Critical support for the Piedmont Blues has been provided by the Music Maker Relief Foundation — a nonprofit based in Hillsborough, NC — founded to preserve the musical traditions of the South by directly supporting musicians, ensuring that their voices will not be silenced by poverty & time. Made possible, in part, with an award from the National Endowment for the Arts.

DUKE PERFORMANCES CHAMBER ARTS SERIES

ST. LAWRENCE STRING QUARTET SATURDAY, DECEMBER 3 | 8 PM BALDWIN AUDITORIUM Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students

Hailed by The Washington Post as “fearless musicians whose spontaneity stretches past conventional interpretation and probes the music’s imaginative limits,” the St. Lawrence String Quartet return to Duke Performances with another kaleidoscopic program. Their sound, notes The New York Times, “has just about everything one wants from a quartet, most notably precision, warmth, and an electricity that conveys the excitement of playing whatever is on their stands at the moment.” For this visit, the St. Lawrence begin with Haydn, their touchstone composer. Haydn’s Quartet in C Major is a piece the musicologist William Drabkin calls “one of the supreme achievements of the Classical period.” They contrast that classicism with a rare chance to hear Camille Saint-Saëns’ romantic First Quartet, a piece that owes a great deal to Brahms. With these works as a foundation, they reveal the op. 132 of Beethoven as a timeless work which, despite its chronology, is neither classic nor romantic.

PROGRAM Haydn: String Quartet in C Major, op. 20, No. 2 Saint-Saëns: String Quartet No. 1 in E Minor, op. 112 Beethoven: String Quartet No. 15 in A Minor, op. 132

P I A N O R EC I TA L S E R I E S

JEREMY DENK

PIANO

SATURDAY, DECEMBER 10 | 8 PM BALDWIN AUDITORIUM Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students

Jeremy Denk’s accolades include a MacArthur “Genius” Grant and a Musical America Instrumentalist of the Year award, and this Durham-born artist more than lives up to the acclaim. The New York Times hailed Denk as “a pianist you want to hear no matter what he performs, in whatever combination — both for his penetrating intellectual engagement with the music and for the generosity of his playing.” That engagement comprises both his deeply felt performances and his sensitive writings about music for The New Yorker and other publications. This visit features three spectacular showpieces for solo piano: Beethoven’s tumultuous Seventeenth Sonata; Schubert’s virtuoso Wanderer Fantasy; and Charles Ives’ Concord Sonata, a musically revolutionary portrait of Emerson, Thoreau, and other writers of the American Transcendentalist movement. Denk has become a tireless advocate for the revival of Ives’ work, particularly with his fervent performance of this piece, which he describes as “one of the most profoundly nostalgic and tender projects in all of music.”

PROGRAM Beethoven: Sonata No. 17 in D Minor, op. 31, no. 2 (“Tempest”) Schubert: Wanderer Fantasy, D. 760 Ives: Concord Sonata

REZ ABBASI INVOCATION

FEAT. RUDRESH MAHANTHAPPA & VIJAY IYER SATURDAY, DECEMBER 17 | 8 PM BALDWIN AUDITORIUM

Tickets: $28 • $22 • $15 Ages 30 & Under $10 Duke Students

Invocation is Pakistani-born jazz guitarist Rez Abbasi’s quintet featuring pianist Vijay Iyer and saxophonist Rudresh Mahanthappa. In this performance at Baldwin Auditorium (replacing a concert cancelled last season due to snow) the quintet unveils a new project that explores Carnatic classical music from Southern India through the idiom of jazz. This is the final installment in a project that puts a jazz lens on the musical traditions of South Asia; Invocation previously explored Hindustani music and qawwali in a pair of critically acclaimed recordings. All About Jazz calls Abbasi’s music “neither Eastern nor Western, but effortlessly global … proof that jazz can be as vital and boundary-pushing as ever.” Abbasi — along with Iyer and Mahanthappa — is one of a trio of jazz musicians bringing distinctly South Asian-inflected voices to the contemporary scene. One of the foremost guitar players in modern jazz, Abbasi graduated from the Manhattan School of Music, then made a pilgrimage to India to study with tabla master Ustad Allarakha, father of Zakir Hussain. Invocation’s mission, Abbasi declares, is “to create a globally-based music steeped in jazz. This tradition follows in the footsteps of some of the greatest jazz musicians. Coltrane, Ellington, and Gillespie all immersed themselves in music from around the world.” This performance of Rez Abbasi’s Invocation, presented in collaboration with Asia Society & Walker Art Center, is supported by Presenter Consortium for Jazz, a program of Chamber Music America funded through the generosity of the Doris Duke Charitable Foundation.

2016 | 2017

DUKE PERFORMANCES 2 016/17 S E A S O N

S E P T E M B E R ’ 16 SU

OCTOBER ’16 SU

THE CIVILIANS THE UNDERTAKING Thursday, September 29 | 8 PM Friday, September 30 | 8 PM Saturday, October 1 | 3 PM & 8 PM Sheafer Lab Theater SIMONE DINNERSTEIN, PIANO Friday, September 30 | 8 PM Baldwin Auditorium

N O V E M B E R ’16 PACIFICA QUARTET FEAT. JOHANNES MOSER, CELLO Saturday, November 5 | 8 PM Baldwin Auditorium

O C T O B E R ’16

CIOMPI CONCERT NO. 2 FEAT. OLIVIER CAVÉ, PIANO & ALLAN WARE, CLARINET Sunday, November 6 | 7 PM Baldwin Auditorium

MIVOS QUARTET Thursday, October 6 | 8 PM Nelson Music Room

SERGEI BABAYAN, PIANO Saturday, November 12 | 8 PM Baldwin Auditorium

SAUL WILLIAMS & MIVOS QUARTET Friday, October 7 | 8 PM Nelson Music Room

SHARA WORDEN & SŌ PERCUSSION Friday, November 18 | 8 PM Baldwin Auditorium MY BRIGHTEST DIAMOND Saturday, November 19 | 9 PM Motorco Music Hall

ZAKIR HUSSAIN, TABLA & NILADRI KUMAR, SITAR Saturday, October 8 | 8 PM Page Auditorium

BLONDE REDHEAD MISERY IS A BUTTERFLY Friday, October 14 | 8 PM Reynolds Industries Theater

CHANTICLEER A CHANTICLEER CHRISTMAS Sunday, November 27 | 7 PM Baldwin Auditorium

BELCEA QUARTET Saturday, October 15 | 8 PM Baldwin Auditorium

D E C E M B E R ’16

N O V E M B E R ’ 16 SU

D E C E M B E R ’ 16 SU

S E P T E M B E R ’ 16 CIOMPI CONCERT NO. 1 FEAT. JULIANNE BAIRD, SOPRANO Saturday, September 17 | 8 PM Baldwin Auditorium AARON NEVILLE Friday, September 23 | 8 PM Baldwin Auditorium DOVER QUARTET Saturday, September 24 | 8 PM Baldwin Auditorium BILLY HART QUARTET FEAT. ETHAN IVERSON, MARK TURNER & BEN STREET Sunday, September 25 | 5 PM & 7:30 PM 21C Museum Hotel Durham

IAN BOSTRIDGE, TENOR & THOMAS ADÈS, PIANO SCHUBERT’S WINTERREISE Thursday, October 20 | 8 PM Baldwin Auditorium SOUTH DAKOTA CHORALE TYBERG PROJECT: MUSIC LOST IN THE HOLOCAUST Saturday, October 22 | 8 PM Duke Chapel TRISHA BROWN DANCE COMPANY IN PLAIN SITE Friday, October 28 | 5 PM Sarah P. Duke Gardens Saturday, October 29 | 6 PM & 8:30 PM Nasher Museum of Art Sunday, October 30 | 2:30 PM & 5 PM Sarah P. Duke Gardens ANTONIO SANCHEZ BIRDMAN: FILM + LIVE SCORE Saturday, October 29 | 8 PM Reynolds Industries Theater

CHARLES LLOYD & THE MARVELS FEAT. BILL FRISELL, REUBEN ROGERS, ERIC HARLAND & GREG LEISZ Thursday, December 1 | 8 PM Page Auditorium GERALD CLAYTON & THE ASSEMBLY: PIEDMONT BLUES FEAT. LIZZ WRIGHT Friday, December 2 & Saturday, December 3 | 8 PM Reynolds Industries Theater ST. LAWRENCE STRING QUARTET Saturday, December 3 | 8 PM Baldwin Auditorium JEREMY DENK, PIANO Saturday, December 10 | 8 PM Baldwin Auditorium REZ ABBASI INVOCATION FEAT. RUDRESH MAHANTHAPPA & VIJAY IYER Saturday, December 17 | 8 PM Baldwin Auditorium

J A N UA R Y ’1 7 SU

F E B R UA R Y ’ 17 SU

MARCH ’17 SU

18 25

APRIL ’17 TU

1 2

M AY ’ 1 7 SU

J A N UA R Y ’1 7 BRANFORD MARSALIS & JOEY CALDERAZZO Friday, January 13 & Saturday, January 14 | 8 PM Baldwin Auditorium BARNATAN, MCGILL, WEILERSTEIN TRIO Saturday, January 21 | 8 PM Baldwin Auditorium

F E B R UA R Y ’ 1 7 JERRY DOUGLAS PRESENTS EARLS OF LEICESTER Friday, February 3 | 8 PM Baldwin Auditorium

CIOMPI CONCERT NO. 3 FEAT. JAMIE LAVAL, FIDDLE Saturday, February 4 | 8 PM Baldwin Auditorium DEVIANT SEPTET FEAT. MELLISSA HUGHES, SOPRANO Thursday, February 9 | 8 PM Nelson Music Room ESTONIAN PHILHARMONIC CHAMBER CHOIR Friday, February 10 | 8 PM Duke Chapel CHRISTIAN TETZLAFF, VIOLIN & LARS VOGT, PIANO Saturday, February 11 | 8 PM Baldwin Auditorium TALIB KWELI Thursday, February 16 & Friday, February 17 | 9 PM Motorco Music Hall MALPASO DANCE COMPANY + ARTURO O’FARRILL & THE AFRO LATIN JAZZ ENSEMBLE Friday, February 24 & Saturday, February 25 | 8 PM Reynolds Industries Theater ERIC WHITACRE SINGERS Tuesday, February 28 | 8 PM Duke Chapel

M A R C H ’17 KIRILL GERSTEIN, PIANO Friday, March 3 | 8 PM Baldwin Auditorium HAGEN QUARTET FEAT. KIRILL GERSTEIN, PIANO Saturday, March 4 | 8 PM Baldwin Auditorium GEIMARU-ZA NIHON BUYO TROUPE Tuesday, March 7 | 8 PM Reynolds Industries Theater CAPPELLA PRATENSIS Friday, March 10 | 8 PM Baldwin Auditorium ANAT COHEN QUARTET Sunday, March 19 | 5 PM & 7:30 PM 21C Museum Hotel Durham STEPHIN MERRITT & THE MAGNETIC FIELDS 50 SONG MEMOIR Part 1: Tuesday, March 21 & Part 2: Wednesday, March 22 | 8 PM Carolina Theatre of Durham

MAHAN ESFAHANI, HARPSICHORD Thursday, March 23 | 8 PM Nelson Music Room HILARY HAHN, VIOLIN & ROBERT LEVIN, PIANO Friday, March 24 | 8 PM Baldwin Auditorium JÓHANN JÓHANNSSON’S DRONE MASS FEAT. ACME, THEATRE OF VOICES & JÓHANN JÓHANNSSON Saturday, March 25 | 8 PM Baldwin Auditorium DANIIL TRIFONOV, PIANO Friday, March 31 | 8 PM Baldwin Auditorium

A P R I L ’17 CIOMPI CONCERT NO. 4 FEAT. GERARD MCBURNEY, NARRATOR Saturday, April 1 | 8 PM Baldwin Auditorium ARDITTI QUARTET FEAT. ELIOT FISK, GUITAR Sunday, April 2 | 7 PM Baldwin Auditorium ANOUSHKA SHANKAR HOME Friday, April 7 | 8 PM Page Auditorium ALINA IBRAGIMOVA, VIOLIN & CÉDRIC TIBERGHIEN, PIANO Saturday, April 8 | 8 PM Baldwin Auditorium DAKHABRAKHA DOVZHENKO’S EARTH: FILM + LIVE SCORE Friday, April 14 | 8 PM Baldwin Auditorium CECILE MCLORIN SALVANT Saturday, April 15 | 8 PM Baldwin Auditorium RICHARD GOODE, PIANO Friday, April 28 | 8 PM Baldwin Auditorium CHRISTIAN MCBRIDE TRIO Sunday, April 30 | 5 PM & 7:30 PM 21C Museum Hotel Durham

M AY ’17 EIGHTH BLACKBIRD & WILL OLDHAM Saturday, May 6 | 8 PM Baldwin Auditorium

DUKE PERFORMANCES

CHAMBER ARTS SERIES

BRANFORD BARNATAN, JERRY DOUGLAS PRESENTS MARSALIS & McGILL, JOEY CALDERAZZO WEILERSTEIN TRIO EARLS OF LEICESTER FRIDAY, JANUARY 13 & SATURDAY, JANUARY 14 | 8 PM BALDWIN AUDITORIUM

Tickets: $56 • $44 • $15 Ages 30 & Under $10 Duke Students

Jazz titan Branford Marsalis is a famous son of New Orleans, and scion of that city’s first family of music. For the last fifteen years this definitive American saxophonist, who plays “with the technical mastery and emotional maturity that produces great music” (San Francisco Chronicle), has called Durham home, teaching at NC Central University and recording albums here. Virtuoso pianist Joey Calderazzo first met Marsalis almost thirty years ago, when the young prodigies worked together in Michael Brecker’s combo. Calderazzo also lives in Durham, having spent two decades as a featured artist in GRAMMY-winner Marsalis’ quartet and releasing his own acclaimed albums on Marsalis’ label. These two longtime collaborators return to Duke Performances, bringing a sly irreverence to their hometown concerts in a presentation perfectly sized to Baldwin Auditorium. Together, they play everything from blues to ballads, excelling in both swinging standards and angular experimentation. JazzTimes said of their 2011 duo album Songs of Mirth and Melancholy, “both musicians shine, but there’s no strutting going on here, no cutting contest, only a singular vision.”

SATURDAY, JANUARY 21 | 8 PM BALDWIN AUDITORIUM Tickets: $48 • $42 • $15 Ages 30 & Under $10 Duke Students

Each player in this dream ensemble is a star in his or her own right: Cellist Alisa Weilerstein is a MacArthur Fellow, praised as “a passionate player of intense musicality” (The New York Times); New York Philharmonic principal clarinetist Anthony McGill is also a tireless chamber player renowned for “his trademark brilliance, penetrating sound, and rich character” (The New York Times); and pianist Inon Barnatan is a sought-after soloist whom New York Philharmonic conductor Alan Gilbert called “a complete artist.” These three stars come together here to explore the clarinet trio repertoire with three markedly different works. The program begins with the world premiere of a trio written for this group by the composer Joseph Hallman, then turns to Beethoven’s Clarinet Trio in B-flat, an early, playful, and melodic joy. Brahms’ Clarinet Trio, which rekindled his career when he had thought it finished, drew a comment from Brahms’ lifelong friend, musicologist Eusebius Mandyczewski, that “it is as though the instruments were in love with each other.”

PROGRAM Joseph Hallman: Clarinet Trio World Premiere Beethoven: Clarinet Trio in B-flat Major, op. 11 Brahms: Clarinet Trio in A Minor, op. 114 2016 | 2017

FRIDAY, FEBRUARY 3 | 8 PM BALDWIN AUDITORIUM Tickets: $48 • $42 • $15 Ages 30 & Under $10 Duke Students

Dobro master Jerry Douglas is a true legend of bluegrass. “From regal restraint to reckless abandon, Douglas is never anything less than astonishing” (Billboard). Stars as diverse as Charlie Haden, Dolly Parton, and Ray Charles have called on Douglas’ unmistakable sound as a session musician on an astounding two thousand albums. Douglas moved from sideman to soloist and producer more than twenty years ago when he formed the acoustic supergroup Strength in Numbers. He has won an amazing fourteen GRAMMY awards, culminating in a 2015 win for best bluegrass album by his all-star group the Earls of Leicester. In name and style, the group is Douglas’ tribute to the Foggy Mountain Boys, led by the legendary duo of Earl Scruggs and Lester Flatt. Six of roots music’s very finest (including veterans of Union Station and the son of an original Foggy Mountain Boy) join to conjure up the sound and feel of a concert by the fathers of modern bluegrass. “You expect a band of superstars to be fantastic,” raved Bluegrass Today. “But these six guys go far beyond that superlative.”

DUKE PERFORMANCES

VOCAL ENSEMBLE SERIES

DEVIANT SEPTET FEAT. MELLISSA HUGHES, SOPRANO

PIERROT LUNAIRE THURSDAY, FEBRUARY 9 | 8 PM NELSON MUSIC ROOM

ESTONIAN PHILHARMONIC CHAMBER CHOIR FRIDAY, FEBRUARY 10 | 8 PM DUKE CHAPEL

Tickets: $24 • $15 Ages 30 & Under • $10 Duke Students General Admission Seating

Deviant Septet, the new music ensemble which Time Out New York called “exceedingly fun,” are now in their second year of residency at Duke. Last season, they brought down the house with their performance of Stravinsky’s L’Histoire du Soldat, which Indy Week praised as “limber and rich, showing the wit and humor that so often hide behind Stravinsky’s cool exterior.” That was the piece that originally drew the group together, and it has remained their calling card ever since. This season, Deviant Septet present another early-twentieth-century masterwork that calls for an unusual instrumentation: Arnold Schoenberg’s astounding 1912 cycle Pierrot Lunaire (specially transcribed for the group’s instrumentation). They are joined by soprano Mellissa Hughes, “a dazzling diva adept at old and new music” (TimeOut New York), who half-sings, half-speaks her way through the twenty-one irreverent poems that Schoenberg set in captivating atonality. Hughes and Deviant Septet perform in the intimate confines of the Nelson Music Room, offering audiences an up-close seat to Schoenberg’s masterpiece.

PROGRAM

Tickets: $42 for Preferred Seating $24 • $15 Ages 30 & Under • $10 Duke Students for General Admission Seating

The Estonian Philharmonic Chamber Choir comes from a country where musical virtuosity is prized, part-singing has been an essential ingredient of education for centuries, and the choral tradition is closely linked to the sense of national identity. It is not surprising, then, that this outstanding twenty-five voice professional ensemble arose from a children’s choir. As adults, graduates of that choir formed what would become the Estonian Philharmonic Chamber Choir, winning several international competitions and growing in popularity along with the Estonian composer whose work they championed, Arvo Pärt. These flawless singers, renowned for the shimmering quality of their sound, return to Duke Chapel following their triumphant sold-out 2013 performance. Their program features works by two of the greatest living choral composers: Pärt, whose luminous compositions look back to medieval and renaissance music, and Pärt’s countryman Veljo Tormis, who draws inspiration from Estonian folk songs. Rounding out the program are rarely-performed masterpieces by Tchaikovsky — Nine Sacred Pieces — and Sibelius — the folk-based Partsongs.

Schoenberg: Pierrot Lunaire, op. 21

PROGRAM

ARTIST RESIDENCY

Arvo Pärt: Solfeggio, Nunc Dimittis, The Woman with the Alabaster Box, Dopo La Vittoria Tchaikovsky: Selections from Nine Sacred Pieces: Nos. 3, 7, and 9

Deviant Septet returns to Duke Performances as Ensemble-inResidence this season, visiting Durham three times to workshop and record new compositions by Duke graduate composers. Made possible, in part, with support from the Department of Music at Duke University & the Office of the Vice Provost for the Arts, Duke University.

Veljo Tormis: Towerbell of my Village, Curse Upon Iron Sibelius: Selections from 6 Partsongs, op. 18: Song of my Heart, Beloved, Fire on the Island

2016 | 2017

CHAMBER ARTS SERIES

CHRISTIAN TETZLAFF, VIOLIN & LARS VOGT, PIANO SATURDAY, FEBRUARY 11 | 8 PM BAL D WIN A UDI TORIUM

Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

Christian Tetzlaff and Lars Vogt both have thriving solo careers; when they appear together, the result is truly dynamic. Their long-standing partnership brings them to Duke Performances for a program that demonstrates why the Chicago Tribune wrote that “whatever the time period and style of the music, Tetzlaff and Vogt excelled, bringing to it not only virtuosity but also penetration.”

They begin with Beethoven’s dramatic Seventh Violin Sonata and then juxtapose it with their friend Jörg Widmann’s brandnew Variations. In a second revealing juxtaposition, they contrast Mozart’s introspective F Major Sonata with Schubert’s bravura Rondo, both ideal showcases for “two musicians absolutely at the top of their game” (Gramophone Magazine).

PROGRAM Beethoven: Sonata for Piano and Violin No. 7 in C Minor, op. 30, no. 2 Jörg Widmann: Variations Mozart: Sonata for Piano and Violin in F Major, K. 377/374e Schubert: Rondo for Piano and Violin in B minor, D. 895

H I P -H O P I N I T I AT I V E

TALIB KWELI THURSDAY, FEBRUARY 16 & FRIDAY, FEBRUARY 17 | 9 PM M O TO R C O M U S I C H AL L

Tickets: $32 • $15 Ages 30 & Under $10 Duke Students | General Admission Limited Seating

Groundbreaking Brooklyn rapper Talib Kweli first made his name as half of Black Star, alongside Mos Def. Their acclaimed 1998 album mixed “rugged street beats and rhymes brainy enough for boho B-boys” (Entertainment Weekly), rejecting the violence and nihilism of gangsta rap in favor of a message of empowerment. Kweli has since put out more than a dozen albums, each radiating an “emotional immediacy and political awareness that was largely absent from hip-hop” (Pitchfork). Twenty years into his career and still pushing boundaries, Talib Kweli collaborated with Durham’s own multi-GRAMMY-winning producer 9th Wonder on the 2015 album Indie 500. Capping off a weeklong residency at Duke, Kweli presents this two-night stand at Motorco, offering a rare opportunity to hear one of hip-hop’s most original and accomplished voices in the up-close-and-personal club setting. It’s the perfect venue to show off his combination of social consciousness and pure lyrical virtuosity. Talib Kweli is presented as part of Duke Performances’ Hip-Hop Initiative, made possible, in part, with support from the Mary Duke Biddle Foundation.

DUKE PERFORMANCES

U.S. PREMIERE | DANCE

MALPASO DANCE COMPANY + ARTURO O’FARRILL & THE AFRO LATIN JAZZ ENSEMBLE DREAMING OF LIONS “YOU GET THE FEELING THAT THEY COULD DANCE JUST ABOUT ANY GENRE WITH JAW-DROPPING STYLE. WHICH MAKES THEIR UNIQUE EXPRESSION OF CUBAN CULTURE IN ALL ITS PROFOUND AND COMPLEX GLORY ALL THE MORE SPECIAL.” — NOW TORONTO FRIDAY, FEBRUARY 24 & SATURDAY, FEBRUARY 25 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

Thanks to thawing relations between the U.S. and Cuba, the prodigiously talented Malpaso Dance Company of Havana has started to appear more frequently on American stages. Central to Malpaso’s rising profile is their relationship with the New Yorkbased Afro Latin Jazz Orchestra, which has won two GRAMMY awards under bandleader Arturo O’Farrill. The ten-piece Afro Latin Jazz Ensemble (ALJE), featuring members of the Orchestra, “embraces music from across the Americas, playing all of its diverse material with the same precision and fire it brings to a mambo workout” (The New York Times).

Malpaso and the ALJE come to Duke for the U.S. premiere of Dreaming of Lions, in which ten musicians and ten dancers present an evening-length evocation of Ernest Hemingway’s classic 1952 novella The Old Man and the Sea. Choreographer Osnel Delgado draws on ballet and Cuban dance in depicting the tale of a fisherman’s quest to catch an elusive marlin, using a different movement vocabulary to delineate each character in the story. The work wrestles with themes of honor, determination, and loss through one man’s crusade for victory in the unrelenting sea.

Malpaso Dance Company is an Associate Company of Joyce Theater Productions. Made possible, in part, with a grant from South Arts in partnership with the National Endowment for the Arts and the North Carolina Arts Council, and support from the Dance Program at Duke University.

2016 | 2017

VOCAL ENSEMBLE SERIES

ERIC WHITACRE SINGERS

“WHITACRE WRITES CAPTIVATING MUSIC OF RARE BEAUTY.” — NPR TUESDAY, FEBRUARY 28 | 8 PM DUKE CHAPEL Tickets: $52 for VIP Seating | $42 for Preferred Seating $28 • $15 Ages 30 & Under • $10 Duke Students for General Admission Seating

“Eric Whitacre is a phenomenon in the music world,” wrote the Sydney Morning Herald, calling him “a composer of thoughtful and genuinely original choral works which are not only challenging and complex, but also hugely popular.” The Juilliard-trained composer and conductor has become a force in the choral genre. He has released chart-topping and GRAMMY-winning albums, toured the world with his all-star ensemble the Eric Whitacre Singers, and assembled the world’s first online virtual choir. Whitacre brings his virtuoso ensemble to what is sure to be a standing-room-only Duke Chapel, the perfect acoustic match for his ethereal compositions. Fittingly, the program will include his Music for Sacred Spaces, a choral work that integrates solo cello with elements of electronic music. The program also features two transporting classics of his repertoire, Sleep and Lux Aurumque, both of which have become — thanks to their inclusion in Whitacre’s virtual choir project — worldwide choral classics.

P I A N O R EC I TA L S E R I E S

KIRILL GERSTEIN, PIANO FRIDAY, MARCH 3 | 8 PM BALDWIN AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Five years ago, The New York Times declared that Kirill Gerstein was “emerging as one of the most respected pianists of his generation.” That emergence is now complete, with the Russian-born musician and winner of the prestigious Gilmore Artist Award in high demand both as a recitalist and concerto soloist on the great stages of the classical world. The Guardian wrote of his playing: “This is the kind of serious, intelligent, and virtuosic music-making that keeps classical music alive.” Gerstein returns to Duke Performances with an ambitious program of masterpieces that show off his astounding technique. The interlacing voices of Bach’s sublime Four Duettos prefigure one of Brahms’ first compositions, the dramatic Sonata in F-sharp Minor. He centers the recital on two Beethoven sonatas: No. 13 in E-flat, and his famous Sonata No. 14 in C-sharp Minor (“Moonlight”). Gerstein follows these titanic sonatas with the fireworks of the teenage Franz Liszt’s Transcendental Etudes.

PROGRAM Bach: Four Duettos, BWV 802-805 Brahms: Sonata No. 2 in F-sharp Minor, op. 2 Beethoven: Sonata No. 13 in E-flat Major, op. 27, no. 1 Beethoven: Sonata No. 14 in C-sharp Minor, op. 27, no 2 (“Moonlight”) Liszt: Selections from Transcendental Etudes, S. 139

DUKE PERFORMANCES

CHAMBER ARTS SERIES

HAGEN QUARTET

FEATURING

KIRILL GERSTEIN

PIANO

SATURDAY, MARCH 4 | 8 PM BALDWIN AUDITORIUM

Tickets: $48 • $42 • $15 Ages 30 & Under $10 Duke Students

The Hagen Quartet sound like they’ve been playing together their whole lives — because they have. The otherworldly closeness of their sound, built on the collaboration of the three Hagen siblings with violinist Rainer Schmidt, led the Los Angeles Times to call them “the ideal string quartet.” Legends in Europe for three decades, the rarity of their visits to the United States makes this concert a true event. For this program, they are joined by pianist Kirill Gerstein, whose “blistering technique is matched only by his deeply soulful connection to standard repertoire” (TimeOut New York). The Hagens begin on their own, with Beethoven’s charming Second Quartet, which recalls the styles of Haydn and Mozart. They demonstrate their range by turning to Bartók’s Third Quartet, a one-movement bravura powerhouse that one critic fondly refers to as “fireside Bartók.” Gerstein joins them for the finale, the propulsive and engrossing Piano Quintet, which Brahms’ friend Hermann Levi called “beautiful beyond words.”

PROGRAM

DANCE

GEIMARU-ZA NIHON BUYO TROUPE TUESDAY, MARCH 7 | 8 PM REYNOLDS INDUSTRIES THEATER Tickets: $32 • $26 • $15 Ages 30 & Under $10 Duke Students

Geimaru-za is an ensemble dedicated to nihon buyo, or traditional Japanese dance, an ancient offshoot of kabuki dance drama. Like kabuki, nihon buyo incorporates vivid narrative, colorfully costumed performers, and live music. These dances have been refined through the ages into simple and elegant narratives: in one dance, a puppeteer helps a marionette after it gets tangled in its own strings; in another, a poet saves both a plum tree and the nightingale that lives in its branches. The five dynamic young dancers of Geimaru-za trained in the Department of Traditional Japanese Music at Tokyo’s prestigious University of the Arts; they appear at Duke Performances as part of their first-ever tour of the United States. Performing with eight live musicians, including shamisen (a three-stringed lute), fue (flute), and a resounding percussion section of taiko, o-tsuzumi, and ko-tsuzumi, the consummate artists of Geimaru-za offer an authentic performance of a distinctly Japanese dance tradition made vital and new. This tour of Geimaru-za is produced & organized by Japan Society, New York & supported by the Agency for Cultural Affairs, Government of Japan & The Asahi Shimbun Foundation.

Beethoven: String Quartet in G Major, op. 18, no. 2 Bartók: String Quartet No. 3 Brahms: Piano Quintet in F Minor, op. 34 2016 | 2017

VOCAL ENSEMBLE SERIES

CAPPELLA PRATENSIS FRIDAY, MARCH 10 | 8 PM BALDWIN AUDITORIUM Tickets: $32 • $26 • $15 Ages 30 & Under $10 Duke Students

“Cappella Pratensis sing with an organic appreciation of line and text that enfolds the ear in every phrase,” marveled Classical Music Magazine. This Dutch ensemble summons the atmosphere of choral singing from five centuries ago: eight male voices, all reading from a single choir book. They recreate original practices without sacrificing the immediacy of these intricate masterworks. Cappella Pratensis come to Duke Performances with a tribute to the best-known son of their native city, the phantasmagorical painter Hieronymus Bosch. To commemorate the 500th anniversary of the artist’s death, the group brings to life the music of the astounding generation of Franco-Flemish choral composers he would have heard in his day. While Bosch filled his paintings with vivid and densely packed images, composers like Pierre de La Rue filled their works with musical variety and polyphonic innovation. Cappella Pratensis contrasts a mass by de La Rue with two “triptych wings”: simple Gregorian plainchant and the many-voiced motets of Mouton and Clemens non Papa.

PROGRAM The program for this concert will include polyphonic works by composers Pierre de La Rue, Jean Mouton, and Jacobus Clemens non Papa, along with plainchant. For the complete program, please visit dukeperformances.org.

JAZZ @ 21C

ANAT COHEN QUARTET “A WOODWIND REVELATION OF DARK TONES AND DELICIOUS LYRICISM.” — DOWNBEAT SUNDAY, MARCH 19 | TWO SETS: 5 PM & 7:30 PM 21C MUSEUM HOTEL DURHAM

Tickets: $34 • $10 Duke Students • General Admission Seating

Anat Cohen “has emerged as one of the brightest, most original young instrumentalists in jazz, playing saxophone and clarinet in no fewer than seven working bands and almost as many styles,” marveled The Washington Post. The Israeli-born reed player boasts a stunning tone and a magnetic live presence to match; it’s no wonder that both DownBeat Magazine critics’ and readers’ polls have named her their best jazz clarinetist every year since 2011. Cohen is at ease playing music from modern jazz to Dixieland, but she has perhaps most astutely assimilated the musical traditions of Latin America, including Afro-Cuban, Argentinean, and Brazilian sounds. The great Cuban jazz clarinetist Paquito D’Rivera has served as Cohen’s mentor and champion in this music, calling her “one of the greatest players ever of the clarinet.” Cohen brings her quartet, with its effortlessly beautiful sound, to the stylish and intimate ballroom at Durham’s 21C Hotel. Jazz at the 21C is presented in collaboration with the 21C Museum Hotel Durham.

STEPHIN MERRITT & THE MAGNETIC FIELDS 50 SONG MEMOIR NIGHT ONE: FIRST 25 SONGS TUESDAY, MARCH 21 | 8 PM NIGHT TWO: SECOND 25 SONGS WEDNESDAY, MARCH 22 | 8 PM CAROLINA THEATRE OF DURHAM

Tickets: $55 • $45 • $30 • $10 Duke Students (per night)

Stephin Merritt has been called “a contrarian pop genius” (The New York Times). With his intricate lyrics and distinctive languid bass voice, Merritt is a true original of the musical world. After more than a decade spent recording and performing offbeat orchestral indie-pop, his group The Magnetic Fields came into its own in 1999 with 69 Love Songs, their witty and mordant encyclopedia of an album released on Merge Records. In the spirit of 69 Love Songs and i (likewise a catalog record), Merritt created his new 50 Song Memoir for Nonesuch. He began recording on his fiftieth birthday, writing an autobiographical song for each year of his life so far, from his first breath in 1965 to the present day. On a Carolina Theatre stage littered with fifty years’ worth of artifacts musical (reel-to-reel tape decks, newly-invented instruments) and decorative (tiki bar, shag carpet), Merritt and six other musicians bring this grand experiment of theatrical introspection to life over two nights, offering twenty-five years’ worth of songs each night. Please note: Each performance will be a separate program, the entire album — 50 Song Memoir — will be performed over two nights: Night One: Songs 1-25, Night Two: Songs 26-50.

DUKE PERFORMANCES

MAHAN ESFAHANI

HILARY HAHN, VIOLIN

HARPSICHORD

WITH ROBERT LEVIN, PIANO

THURSDAY, MARCH 23 | 8 PM NELSON MUSIC ROOM

Tickets: $28 • $15 Ages 30 & Under • $10 Duke Students General Admission Seating

In 2015, the young Iranian-American virtuoso Mahan Esfahani became the first harpsichordist to record for Deutsche Grammophon in more than three decades, with the venerable label calling him “a dynamic, daring musician who thinks way beyond the conventional boundaries of his instrument.” His album included not only performances of Baroque masters like Bach and Scarlatti, but also wildly unexpected modern composers like Górecki and Reich. “With his dazzling displays,” wrote The Times of London, “Esfahani is sweeping away the image of his instrument as an antique.” That adventurous spirit also governs Esfahani’s concert for Duke Performances. The evening includes a propulsive Bach Toccata, as well as much newer fare like Steve Reich’s mind-bending work Piano Phase (with Esfahani playing live and on tape simultaneously). Esfahani not only unearths the elegant compositions of English Renaissance composers Tomkins, Bull, and Farnaby, but dives into the twentieth-century experimentation of Viktor Kalabis and Kaija Saariaho.

PROGRAM Henry Cowell: Set of Four Thomas Tomkins: Pavan

“THE CORE OF HAHN'S TECHNIQUE IS PRECISION AND REFINEMENT — ELEGANT SOUND; FRICTIONLESS, CLEAN BOWING AND INTONATION; POLISHED, ROUNDED-OFF PHRASING.” — THE BOSTON GLOBE FRIDAY, MARCH 24 | 8 PM BALDWIN AUDITORIUM

Tickets: $58 • $48 • $15 Ages 30 & Under • $10 Duke Students

Hilary Hahn has been one of the best-known violinists in the world for twenty-five years, playing with a style that is “technically immaculate and musically magisterial” (Los Angeles Times). Her incomparable skill is matched by her musical intelligence and daring programming; not only is she a first-class exponent of Bach’s work, but she is also one of the foremost commissioners of new works for the violin (including Jennifer Higdon’s Pulitzer Prize-winning concerto). Pioneer Press calls her playing “brimming with emotion and enthusiasm, excitement and interpretive imagination.” Nürnberger Nachrichten lauds her as “the epitome of violinist perfection.” Whatever the piece, this international star performs with a musicality “at once impetuous and authoritative, brilliant and beautiful” (The New York Times). At the time of printing, Hilary Hahn’s Duke Performances program with pianist Robert Levin had not yet been finalized. Given her extraordinary history, audiences should expect a wide-ranging repertoire and a truly moving performance from a once-in-a-generation American talent.

John Bull: Hexachord Fantasia

PROGRAM

Giles Farnaby: Woody-Cock Viktor Kalabis: Three Aquarelles

Program to be announced in Fall 2016.

Kaija Saariaho: Jardin Secret II J.S. Bach: Toccata in C, BWV 911 Steve Reich: Piano Phase

2016 | 2017

DUKE PERFORMANCES

P I A N O R EC I TA L S E R I E S

JÓHANN JÓHANNSSON’S DRONE MASS

DANIIL TRIFONOV PIANO “TRIFONOV HAS SCINTILLATING TECHNIQUE AND A VIRTUOSIC FLAIR.” — THE NEW YORK TIMES

FEATURING ACME & THEATRE OF VOICES

FRIDAY, MARCH 31 | 8 PM BALDWIN AUDITORIUM

Tickets: $48 • $42 • $15 Ages 30 & Under • $10 Duke Students

SATURDAY, MARCH 25 | 8 PM BALDWIN AUDITORIUM Tickets: $32 • $26 • $15 Ages 30 & Under • $10 Duke Students

Two of the world’s cutting-edge new music ensembles — the American Contemporary Music Ensemble (ACME) and Theatre of Voices — join forces at Duke for one monumental performance. ACME, who last visited Duke Performances in the 2014/15 season, have been lauded as “contemporary music dynamos” by NPR. The Danish vocal group Theatre of Voices, dedicated to contemporary work, produce “impeccably refined and expressive singing” (Sunday Times) under their director, the choral sage and Hilliard Ensemble founder Paul Hillier. The piece that brings these two new music powerhouses together is Icelandic composer Jóhann Jóhannsson’s haunting Drone Mass. Best known for his elegantly minimalist, Oscar-nominated film scores for The Theory of Everything and Sicario, Jóhannsson writes unclassifiable modern music that “lies somewhere between classical, ambient music, and an experimental soundtrack” (The Guardian). ACME and Theatre of Voices join for a stirring performance of his recent oratorio Drone Mass, with Jóhannsson himself adding the electronic hum that gives the piece its name.

Daniil Trifonov has arrived as the unquestioned next superstar of classical piano. “What makes him such a phenomenon is the ecstatic quality he brings to his performances — an all-consuming intensity-of-belonging on the public platform that translates into something thrilling, absorbing, inspiring,” wrote the Financial Times. This prize pupil of Sergei Babayan (also seen at Duke Performances this season) has made rapturously received debuts in recent years as a soloist with the New York Philharmonic, the Mariinsky Orchestra, and the Vienna Philharmonic, as well as highly regarded recital appearances at Carnegie Hall. The young Russian powerhouse will perform a program made up of miniatures. This includes pieces from his countrymen: several of Shostakovich’s Bach-inspired Preludes and Fugues, and selections from Stravinsky’s free-spirited ballet score for Petrouchka. He brings both sensitivity and fire to Schumann’s beloved compendia Kreisleriana and Kinderszenen, the latter a touching and nostalgic look back at childhood.

PROGRAM Schumann: Kinderszenen, op. 15 Schumann: Toccata in C Major, op. 7 Schumann: Kreisleriana, op. 16 Shostakovich: Selections from 24 Preludes and Fugues, op. 87 Stravinsky: Selections from Petrouchka

$15 T I C K E T S F O R PAT R O N S A G E S 30 & U N D E R

Patrons ages 30 & under — high school students, college students matriculating at neighboring institutions & young professionals — may purchase tickets to nearly every presentation on Duke Performances’ 2016/17 season for just $15. Note: Limit of two $15 tickets per patron for each presentation. Quantities of $15 tickets may be restricted. ID required at time of purchase. 2016 | 2017

DUKE PERFORMANCES CHAMBER ARTS SERIES

ARDITTI QUARTET ANOUSHKA FEAT. ELIOT FISK, GUITAR SHANKAR HOME: A TRIBUTE TO RAVI SHANKAR

SUNDAY, APRIL 2 | 7 PM BALDWIN AUDITORIUM

Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students

The Arditti Quartet is the only chamber ensemble ever to receive the Ernst von Siemens Music Prize, the “Nobel Prize of Music,” usually awarded to individuals; Eliot Fisk was called “one of the most brilliant, intelligent, and gifted artists of our time” by his mentor, the guitarist Andrés Segovia. What these musicians share is a passionate love for contemporary music, with both the British quartet and the American guitarist dedicated to commissioning, performing, and recording new work. This is the legendary Arditti Quartet’s first visit to Duke Performances, and they begin the program on their own, with a performance of the Mexican composer Hilda Paredes’ Bitacora Capilar, written to celebrate the Arditti’s 40th anniversary. They follow this with one of their trademark pieces: an eerie, angular, rarely performed quartet by the modern master György Ligeti. Fisk joins the Arditti for the culminating performance of the evening: a brand-new quintet for strings and guitar written for these musicians by the German composer Wolfgang Rihm.

PROGRAM Hilda Paredes: Quartet No. 3 (“Bitacora Capilar”)

FRIDAY, APRIL 7 | 8 PM PAGE AUDITORIUM Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students

Anoushka Shankar grew up playing by the side of her father and teacher, the revered sitar player Ravi Shankar. She emerged from his tutelage to become a pioneer on the sitar and “one of the most gifted artists in her generation of Indian classical artists” (Los Angeles Times). As Shankar’s career progressed, she moved away from more traditional material to experiment with styles ranging from pop to electronica to flamenco before coming full circle. Shankar’s 2015 album Home marked her triumphant return to Indian classical music. Rolling Stone called the record “jaw-dropping virtuosic fun, a powerful testimony to a father-daughter relationship, and a beautifully recorded introduction to the Indian classical tradition.” Shankar comes to Duke Performances with a six-piece classical ensemble to play the timeless ragas she learned as a child, paying tribute to her father’s rich legacy while also forging her path as a master in her own right.

ALINA IBRAGIMOVA, VIOLIN & CÉDRIC TIBERGHIEN, PIANO SATURDAY, APRIL 8 | 8 PM BALDWIN AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under $10 Duke Students

The Guardian raved that the pairing of Alina Ibragimova and Cédric Tiberghien “mesmerizes and captivates, achieving rare freshness and vitality in the most familiar repertoire.” Ibragimova studied with Christian Tetzlaff, heard earlier in the season. The Guardian also declared Ibragimova and Tiberghien “today’s partnership of choice for violin and piano repertory.” Bach’s Fourth Violin Sonata places both instruments on equal footing, as does Brahms’ Sonata for Piano and Violin. John Cage’s simple yet affecting Six Melodies defines a set of notes and turns them into melodic sequences; AllMusic calls it one of his “most approachable and immediately satisfying compositions.” Cage dedicated this work to Bauhaus-trained modernist artists Josef and Anni Albers, who left Germany in 1933 to teach at North Carolina’s Black Mountain College. Schumann’s masterful Second Violin Sonata provides a vibrant and energetic finale.

PROGRAM Bach: Violin Sonata No. 4 in C Minor, BWV 1017

Ligeti: Quartet No. 2

Brahms: Sonata for Piano and Violin No. 2 in A Major, op. 100

Wolfgang Rihm: Guitar Quintet

John Cage: Six Melodies for Violin and Piano Schumann: Violin Sonata No. 2 in D Minor, op. 121 2016 | 2017

DUKE PERFORMANCES

DAKHABRAKHA CÉCILE DOVZHENKO’S EARTH: MCLORIN SALVANT FILM + LIVE SCORE FEAT. SULLIVAN FORTNER, PIANO “UKRAINIAN FOLKDRONE BJÖRKPUNK.” — ROLLING STONE F R ID AY, AP RIL 14 | 8 P M BAL D WIN A UDI TORIUM Tickets: $28 • $22 • $15 Ages 30 & Under • $10 Duke Students

DakhaBrakha began by playing the folk music of their native Ukraine at an avant-garde theater. After experimenting with folk music, this theatrical Kiev quartet began adding rhythms of the surrounding world — West African rhythms, American hip-hop beats, and Australian drums — creating a transnational sound rooted in Ukrainian culture. DakhaBrakha’s singular musical style swings from minimalist drone to raucous wedding dance, and “the effect,” raves The Daily Telegraph, “is wildly exciting.” This performance features DakhaBrakha playing their own live score for Earth, a 1930 silent classic of Soviet cinema by Ukrainian director Alexander Dovzhenko. The ravishingly beautiful film tells the story of farmers resisting Stalin’s plan to collectivize their farms; The New Yorker's esteemed film critic Pauline Kael called it “a passionate lyric on the continuity of man, death, and nature.” DakhaBrakha’s mix of unruly ancient song and contemporary rhythms transforms Dovzhenko’s striking images into an exhilarating live experience.

“MCLORIN SALVANT IS AN EXTRAORDINARY REVELATION OF CONTEMPORARY VOCAL JAZZ. HER VOICE POSSESSES AMAZING EXPRESSIVE AUTHENTICITY COUPLED WITH OUTSTANDING CONTROL.” — JAZZ HOT S ATU R D AY, APR I L 1 5 | 8 PM B AL D W I N AU D I TO R I U M Tickets: $42 • $36 • $15 Ages 30 & Under • $10 Duke Students

Cécile McLorin Salvant, who recently won her first GRAMMY for Best Jazz Vocal Album, is the shimmering young star of the jazz world. “Ms. Salvant has it all,” raved The New York Times. “If anyone can extend the lineage of the Big Three — Billie Holiday, Sarah Vaughan, and Ella Fitzgerald — it is this virtuoso.” So captivating was her Duke Performances concert last season that she is the rare artist to be invited back for for the second season in a row. Salvant makes an electric connection with live audiences. “Resoundingly eloquent, whether growling the blues or barely breathing, Salvant has inbuilt swing, an actor’s stagecraft, an instrumentalist’s precision of nuance, and an appetite for dusting off rarely performed songs,” declared The Guardian. In the mold of her idols, Vaughan and Abbey Lincoln, McLorin Salvant makes every song utterly her own. Joined for this concert by gifted New Orleans pianist Sullivan Fortner, she has fast become jazz’s must-see vocalist.

15% D U K E E M P L OY E E D I S C O U N T

Duke University employs 36,000 fine folks; each and every one is entitled to 15% off tickets to nearly every presentation on Duke Performances’ 2016/17 season. Note: Limit of two discounted employee tickets per presentation. Duke employee ID required at time of purchase. 2016 | 2017

DUKE PERFORMANCES

P I A N O R EC I TA L S E R I E S

RICHARD GOODE

PIANO

FRIDAY, APRIL 28 | 8 PM BALDWIN AUDITORIUM

Tickets: $48 • $42 • $15 Ages 30 & Under $10 Duke Students

Richard Goode has been universally acclaimed as a master interpreter of the classical piano repertoire for more than fifty years. “One of the greatest American pianists of his or any generation, Goode performs with deceptive ease,” wrote the St. Louis Post-Dispatch. “He plays with complete mastery of his instrument and the score.” He is also a true citizen of classical music, having run the legendary Marlboro Music School and Festival for fifteen years. He and Jeremy Denk, who will be performing at Baldwin Auditorium on December 10, are among the few classical pianists ever to be signed to Nonesuch Records. More than two decades after he became the first American pianist to record the complete Beethoven sonatas, Goode brings five of these sublime works to Durham. He plays all three Opus 10 sonatas, the radical and impetuous pieces that marked the young Beethoven’s breakthrough in the form. He contrasts these youthful sonatas with two mature ones: the thunderous but rarely-performed No. 22, and the poetic and heartfelt No. 28, the first of the composer’s late-period masterpieces.

JAZZ @ 21C

CHRISTIAN MCBRIDE TRIO SUNDAY, APRIL 30 TWO SETS: 5 PM & 7:30 PM 21C MUSEUM HOTEL DURHAM

Tickets: $34 • $10 Duke Students General Admission Seating

EIGHTH BLACKBIRD & WILL OLDHAM AKA BONNIE “PRINCE” BILLY

SATURDAY, MAY 6 | 8 PM BALDWIN AUDITORIUM

Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students

Celebrated jazz musician Christian McBride is a great virtuoso of the bass, and part of an exclusive lineage of bassist-bandleaders. In the twenty-five years since McBride’s debut with saxophonist Bobby Watson, McBride has become a commanding leader and vital sideman, playing on an astounding three hundred albums and winning five GRAMMY Awards along the way. McBride is the musician all the stars want in their corner, from James Brown to The Roots and D’Angelo. Newly named artistic director of the Newport Jazz Festival, McBride is the essential bassist of his generation.

Twenty years into its extraordinary run, eighth blackbird is still “one of the smartest, most dynamic contemporary classical ensembles on the planet” (Chicago Tribune). This sextet is a busy commissioner of new works from today’s most gifted composers. They share the stage with the singular Will Oldham, who writes and performs sparse, revelatory songs as his musical alter ego Bonnie “Prince” Billy. The New Yorker called Oldham “an uncanny troubadour, singing a sort of transfigured country music.”

The ballroom at the 21C Hotel offers a rare chance to hear this jazz virtuoso in an intimate setting. The Christian McBride Trio pairs its masterful namesake with two young up-and-comers who complement him perfectly: dynamic pianist Christian Sands and lightning-quick drummer Ulysses Owens, Jr. The New York Times called their gorgeous musical interplay “charged, uplifting, worth seeing.”

eighth blackbird opens the concert with two works originally written for them, including David Lang’s learn to fly and the folk-song-inspired Murder Ballades by Bryce Dessner of The National. Oldham, an erstwhile actor, joins the sextet to narrate Coming Together, Frederic Rzewksi’s fantastically urgent setting of a letter from a prison inmate. They close the evening with a set of Bonnie “Prince” Billy’s exquisite songs arranged for Oldham and eighth blackbird.

Jazz at the 21C is presented in collaboration with the 21C Museum Hotel Durham.

PROGRAM

PROGRAM Beethoven:

David Lang: learn to fly

Piano Sonata No. 5 in C Minor, op. 10

Bryce Dessner: Murder Ballades

Piano Sonata No. 6 in F Major, op. 10

Frederic Rzewski: Coming Together feat. Will Oldham, aka Bonnie “Prince” Billy

Piano Sonata No. 7 in D Major, op. 10

Will Oldham: Selected songs feat. Will Oldham, a.k.a. Bonnie “Prince” Billy

Piano Sonata No. 22 in F Major, op. 54 Piano Sonata No. 28 in A Major, op. 101 2016 | 2017

C I O M P I Q UA R T E T CIOMPI CONCERT NO. 1

CIOMPI CONCERT NO. 3

F E AT U R I N G

JULIANNE BAIRD

JAMIE LAVAL

SOPRANO

FIDDLE

O O O

SATURDAY, SEPTEMBER 17 | 8 PM BALDWIN AUDITORIUM

SATURDAY, FEBRUARY 4 | 8 PM BALDWIN AUDITORIUM

Tickets: $25 • $15 Ages 30 & Under $10 All Students | General Admission Seating

PROGRAM:

Haydn: String Quartet in F-sharp Minor, op. 50, no. 4

Benjamin Britten: Three Divertimenti for String Quartet

Bach: Passacaglia and Fugue in C Minor, BWV 582

Caroline Shaw: Entr’acte for String Quartet

Bach: Bereitet die Wege, bereitet die Bahn!, from Cantata BWV 132

David Kirkland Garner: New work for String Quartet and Fiddle

Bach: Die Seele ruht in Jesu Händen, from Cantata BWV 127

Dvorˇák: String Quartet in E-flat Major, op. 51

Vivaldi: “Sovvente il sole,” from Andromeda Liberata, RV Anh. 117 Vivaldi: “Vedro con mio diletto,” from Giustino, RV 717

CIOMPI CONCERT NO. 4

Vivaldi: “In furore iustissimae irae,” solo motet RV 626

F E AT U R I N G

GERARD M C BURNEY CIOMPI CONCERT NO. 2

N A R R ATO R

F E AT U R I N G

O O O

OLIVIER CAVÉ, & ALLAN WARE,

SATURDAY, APRIL 1 | 8 PM BALDWIN AUDITORIUM

PIANO CLARINET

Tickets: $25 • $15 Ages 30 & Under $10 All Students | General Admission Seating

O O O

SUNDAY, NOVEMBER 6 | 7 PM BALDWIN AUDITORIUM

PROGRAM:

Beethoven: String Quartet in D Major, op. 18, no. 3

Tickets: $25 • $15 Ages 30 & Under $10 All Students | General Admission Seating

Beethoven: String Quartet in C-sharp Minor, op. 131

PROGRAM:

Mozart: String Quartet in E-flat Major, K. 428/421b Mozart: Clarinet Quintet in A Major, K. 581 Mozart: Piano Concerto in E-flat Major, K. 449 2016 | 2017

VENUES O O O

From formal halls and adaptable theaters to intimate nightclubs and black-box spaces, Duke Performances finds ideal stages for diverse artists and audiences in highquality venues on campus and in town.

21C MUSEUM HOTEL DURHAM 111 Corcoran Street | Durham, NC 27701 21cmuseumhotels.com

BALDWIN AUDITORIUM

C A R O L I N A T H E AT R E O F D U R H A M

1336 Campus Drive (intersection of Onslow Street & West Markham Avenue) Durham, NC 27708 dukeperformances.org

309 West Morgan Street | Durham, NC 27701 carolinatheatre.org

DUKE CHAPEL

MOTORCO MUSIC HALL

401 Chapel Drive | Durham, NC 27708 chapel.duke.edu

723 Rigsbee Avenue | Durham, NC 27701 motorcomusic.com

NASHER MUSEUM OF ART

NELSON MUSIC ROOM

2001 Campus Drive | Durham, NC 27705 nasher.duke.edu

1304 Campus Drive | Durham, NC 27708 dukeperformances.org

PA G E A U D I T O R I U M

R E Y N O L D S I N D U S T R I E S T H E AT E R

402 Chapel Drive | Durham, NC 27708 dukeperformances.org

Bryan University Center 125 Science Drive | Durham, NC 27708 dukeperformances.org

S A R A H P. D U K E G A R D E N S

S H E A F E R L A B T H E AT E R

420 Anderson Street | Durham, NC 27705 gardens.duke.edu

125 Science Drive | Durham, NC 27708 dukeperformances.org

I N F O R M AT I O N

D U K E P E R F O R M A N C E S 2 0 1 6 /1 7 T I C K E T I N F O R M AT I O N O O O

T I C K E T O N S A L E D AT E S

Duke Performances 2016/17 season ticket packages — including the Pick-Four or More, Chamber Arts Series, Piano Recital Series, Vocal Ensemble Series, and Ciompi Quartet Series — will go on sale to general public on TUESDAY, JUNE 21 at 11 AM. Single tickets to Duke Performances 2016/17 shows will go on sale TUESDAY, JULY 12 at 11 AM. $10 Duke student tickets and $15 tickets for patrons ages 30 and under will go on sale TUESDAY, AUGUST 30 at 11 AM.

D U K E P E R F O R M A N C E S 20 1 6/17 D I S C O U N T S & D E A L S 2 01 6/1 7 E S S E N T I A L S C L A S S I C S S E R I E S AT D U K E P E R F O R M A N C E S

25% P I C K- F O U R O R M O R E D I S C O U N T

Take 25% off your total price when you buy tickets to four or more shows from Duke Performances 2016/17 season. Note: Because of Ticketmaster’s exclusive agreement with The Carolina Theatre, Duke Performances’ co-presentation of Stephin Merritt & The Magnetic Fields is excluded from Pick-Four discounts.

$ 10 T I C K E T S F O R D U K E S T U D E N T S ; A MIRACULOUS STUDENT TICKET PRICE

Duke students — both undergraduate & graduate — may purchase tickets to any and all shows on Duke Performances’ 2016/17 season for just $10.

2 01 6/1 7 C H A M B E R A R T S S E R I E S

Dover Quartet • Belcea Quartet • Pacifica Quartet feat. Johannes Moser, cello • St. Lawrence String Quartet • Barnatan, McGill, Weilerstein Trio • Christian Tetzlaff, violin & Lars Vogt, piano • Hagen Quartet feat. Kirill Gerstein, piano • Alina Ibragimova, violin & Cédric Tiberghien, piano CAS package provides best available reserved seats in Baldwin Auditorium. Regular price: $346. Series discount price: $200.

Note: Limit of two $10 tickets per student for each presentation. Quantities of available $10 Duke student tickets may be restricted. Duke student ID required at time of purchase. 2 01 6/1 7 P I A N O R E C I TA L S E R I E S $1 5 T I C K E T S F O R PAT R O N S A G E S 3 0 & U N D E R

15 % D U K E E M P L OY E E D I S C O U N T; E V E R Y S H O W, A L L S E A S O N

Simone Dinnerstein • Sergei Babayan • Jeremy Denk • Kirill Gerstein • Daniil Trifonov • Richard Goode PRS package provides best available reserved seats in Baldwin Auditorium. Regular price: $256. Series discount price: $195.

2 01 6/1 7 V O C A L E N S E M B L E S E R I E S

South Dakota Chorale • Chanticleer • Estonian Philharmonic Chamber Choir • Eric Whitacre Singers • Cappella Pratensis VES package provides best available reserved seats in Baldwin Auditorium. Regular price: $210. Series discount price: $150.

2 01 6/1 7 C I O M P I Q U A R T E T S E R I E S

Ciompi Concert No. 1 feat. Julianne Baird, soprano Ciompi Concert No. 2 feat. Olivier Cavé, piano & Allan Ware, clarinet Ciompi Concert No. 3 feat. Jamie Laval, fiddle Ciompi Concert No. 4 feat. Gerard McBurney, narrator Ciompi series employs general admission seating in Baldwin Auditorium. Regular price $100. Series discount price: $80.

2016 | 2017

I N F O R M AT I O N

F O R T I C K E T S , F U L L P R O G R A M D E TA I L S & O T H E R I M P O R TA N T I N F O R M AT I O N V I S I T D U K E P E R F O R M A N C E S .O R G ORDERING TICKETS

By Phone Call the Duke University Box Office between Monday and Friday, 11 AM to 6 PM, 919-684-4444. Credit card orders only. Online Log on to Duke Performances’ website any time at dukeperformances.org In Person Visit the University Box Office on the top level of the Bryan Center on Duke University’s West Campus between Monday and Friday, 11 AM to 6 PM. Box office will open at performance venues one hour prior to the start of each show.

Website & Email Updates Visit dukeperformances.org for updates on all events. We also encourage you to join Duke Performances’ email list which can be accessed through our website. We will use this list to inform you of any changes to the series. Accessibility If you anticipate needing any type of special accommodation or have questions about physical access please contact the University Box Office at 919-684-4444 in advance of the concert. Refunds Tickets are nonrefundable except in the case of canceled events.

Note: All performances are reserved seating unless indicated otherwise. T I C K E T I N G D E TA I L S F O R D U K E P E R F O R M A N C E S ’ C O N C E R T S   AT C A R O L I N A T H E AT R E O F D U R H A M

GIVE TO DUKE PERFORMANCES In order to best serve our community, Duke Performances offers tickets at the lowest possible price, typically 30% less than tickets to comparable events in the region. Donations from patrons ensure that we can continue to offer tickets to exceptional programs at these low prices. With increasing pressure on funding sources, we depend even more on the generosity of those who can support our efforts to provide the best performing arts to the widest possible audience.

Stephin Merritt & The Magnetic Fields 50 Song Memoir Part 1: First 25 Songs Tuesday, March 21 | 8 PM Part 2: Second 25 Songs Wednesday, March 22 | 8 PM Carolina Theatre of Durham Tickets may be purchased through the Carolina Theatre website at carolinatheatre.org, by calling 919-560-3030, or by visiting the Carolina Theatre box office at 309 W. Morgan Street. Tickets for Carolina Theatre performances are sold through Ticketmaster; Ticketmaster service charges will be applied.

When you make a gift to Duke Performances you ensure our ability to continue presenting top-flight, forward-thinking artists, foster meaningful interaction with students and build a community in Durham dedicated to culture and the arts.

Duke students may purchase $10 student tickets to Carolina Theatre shows through the Duke University Box Office in the Bryan Center.

Visit dukeperformances.org/give to make your fully tax-deductible contribution to Duke Performances. If you have any questions about how to further support Duke Performances, please contact us at either performances@duke.edu or 919-660-3356.

I M P O R TA N T I N F O R M AT I O N

D U K E P E R F O R M A N C E S S TA F F

Directions & Parking For full driving directions and parking information, please visit dukeperformances.org and click on the button marked VENUES.

Aaron Greenwald / Executive Director 919-660-3357 / aaron.greenwald@duke.edu

Late Seating Policy Please allow enough time to park, claim your tickets, and get seated before the start-time of performances. Latecomers will be seated at the discretion of the house manager and Duke Performances staff. Lost Tickets If you lose your tickets and need replacements, please call the University Box Office at 919-684-4444. Performance Changes & Performance Cancellation Programs are subject to change without notice for reasons outside the control of Duke Performances. If a performance is canceled, you will be notified as early as possible and offered either an exchange or a refund.

Eric Oberstein / Associate Director 919-660-3359 / eric.oberstein@duke.edu Ariel Fielding / Marketing Director 919-660-3348 / ariel.fielding@duke.edu Gray West / Graphic Designer 919-660-3371 / gray.west@duke.edu Suzanne Despres / Production Manager 919-660-3379 / suzanne.despres@duke.edu Gloria Hunt / Business Manager 919-660-3356 / gloria.hunt@duke.edu

If You Are Unable To Attend If you are unable to attend a program for which you hold tickets, you may donate those tickets in person or via phone at 919-684-4444 to the University Box Office for a tax credit. THANK YOU FOR YOUR SUPPORT

DUKE PERFORMANCES

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