Program Book 2 - 12/13 Carolina Performing Arts

/// PROGRAM BOOK 2 of 4 Nov 16 | Brooklyn Rider

201 S. Estes Drive | Chapel Hill, NC | Free WiFi

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DEAR Friends The University of North Carolina lost a great man with the passing of William C. Friday, whose tenure over three decades as UNC president has been rightly celebrated as a turning point for higher education. We were honored that his memorial service was held in Memorial Hall, and we join with many others in expressing our profound gratitude for his distinguished and selfless service. Bill and Ida Friday’s great love for the arts had been passed on to their daughters, and we are fortunate that Mary Friday Leadbetter recently joined our National Advisory Board. We look forward to her guidance and involvement in the years ahead.

Our 12/13 season, featuring The Rite of Spring at 100 (Rite 100) is now fully underway.

There have been no riots in Memorial Hall yet, but we are electrifying and exciting our audiences just the same.

In September, The Silk Road Ensemble with Yo-Yo Ma launched our season with the world premiere of Dmitri Yanov-Yanovsky’s Sacred Signs, a colorful and richly textured 10-part work inspired by Stravinsky’s experimental rhythmic and tonal structures. There are 10 more CPA-commissioned Rite 100 works to come, so be ready for more thrilling discoveries in the months ahead.

We are especially gratified by your enthusiastic response to the newly commissioned works we are presenting this season, the hallmark of our distinctive program. Being the first to experience a new artistic work is an intense and highly personal encounter. You engage directly with the work on its own terms – before critics and history make their judgments, before anyone has suggested the work’s meaning or purpose, and before any assumptions can be made. It is the purest form of interaction between artist and audience. It is what we do best.

We are also thrilled to present two MacArthur Foundation “genius grant” recipients this season. Chris Thile, alongside his fabulous band, the Punch Brothers, played to a rapturous audience of old fans and new in October soon after the awards were announced. In the spring, we will hear from another MacArthur Fellow, Claire Chase of the International Contemporary Ensemble (ICE). Alongside other works, they will premiere a new Rite 100 work, called Radhe Radhe: Rites of Holi, by jazz pianist and composer Vijay Iyer inspired by the Hindu festival.

As we move toward the holiday season, there will be much to delight our audiences. French pianist Pierre-Laurent Aimard will perform in November and explore Debussy’s use of color in sound. We will welcome back Brazilian legend Gilberto Gil, and then the Orchestre Révolutionnaire et Romantique (ORR) with Sir John Eliot Gardiner. Last season, ORR provided an intoxicating program of Beethoven’s symphonies. This year, they return to perform Beethoven’s Ninth Symphony with the Monteverdi Choir, which was recently ranked as the world’s best choir by Gramophone magazine. Chapel Hill is one of only three venues presenting ORR this year.

Thank you again for all your support. Your passion inspires me.

Sincerely,

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

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///2012/13 season ACKNOWLEDGMENTS Carolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Governance, the Institute for the Arts & Humanities, the College of Arts and Sciences, Student Body Government and UNC News Services.

Administrative staff Emil J. Kang – Executive Director Rachel Ash – Development and Stewardship Manager Rebecca Brenner – Marketing and Communications Coordinator Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development and Stewardship Coordinator Reed Colver – Director of Campus and Community Engagement Jennifer Cox – Administrative Assistant Mary Dahlsten – Box Office Manager Tiffany Gay – Artistic Assistant Raymond Farrow – Director of Development and Strategic Initiatives Joseph Florence – Marketing and Communications Manager Butch Garris – Production Manager Erin Hanehan – Artistic Coordinator Matt Johnson – Production Manager Mike Johnson – Associate Director Elizabeth Joyner – Project Coordinator Marnie Karmelita – Director of Artist Relations Susan Marston – Accountant Sarah Mixter – Artistic Assistant Dan McLamb – Tessitura Systems Administrator Mark Nelson – Director of Marketing and Communications Mark Steffen – Events Manager Christine Tully – Audience Services Manager Aaron Yontz – Production Manager

Table of contents

///////////////////////////////////////////// 16 Pierre-Laurent Aimard, piano 20 Gilberto Gil – For All 24 Orchestre Révolutionnaire et Romantique and the Monteverdi Choir with Sir John Eliot Gardiner, conductor and artistic director 30 Brooklyn Rider – Make it New with Shara Worden, Gabriel Kahane and Dance Heginbotham 38 Chucho Valdés Quintet 42 The Nutcracker – Carolina Ballet 46 Jazz for the Holidays – NC Jazz Repertory Orchestra with James Ketch, music director and special guest John Pizzarelli, guitar/vocals

Memorial Hall student staff

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Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, Administrative Office, House and Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success.

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Advertisers Make This Book Possible

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Rite of Spring Donors

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Not Quite Sure What You Like?

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Ackland Reframed

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Student View

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Important Information

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Donor Spotlight

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Carolina Performing Arts Society

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Donor List

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Restaurant Guide

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The Last Word

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Advertisers Index

This program book would not be possible without the advertisers who support it. Their patronage makes this information available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well.

The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Devon Semler at (919) 834-9441 or amys@opus1inc.com or devons@opus1inc.com.

On the cover: Brooklyn Rider, photo by Sarah Small.

Letter from the Executive Director – Emil J. Kang

6 About The Rite of Spring

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Vaslav Nijinsky

Serge Diaghilev & Igor Stravinsky

May 29, 2013 The centennial anniversary of the premiere performance of The Rite of Spring Ballets Russes dancers in The Rite of Spring costumes

TheRiteofSpringat100.org

Nicholas Roerich illustration

Serge Diaghilev, Vaslav Nijinsky & Igor Stravinsky

what is

THE RITE of SPRING? Le Sacre du printemps On a hot Paris evening in 1913, a riot broke out at the ballet. At the Théâtre des Champs-Élysées, members of Serge Diaghilev’s legendary dance troupe, the Ballets Russes, stamped their feet and jumped to a wild orchestral score. Shaken by Igor Stravinsky’s unorthodox music and scandalized by Vaslav Nijinsky’s audacious choreography, audience members shouted out their protests, while others rose up in defense. Punches were thrown; the police were called. On its opening night, The Rite of Spring secured its place in history.

The outraged spectators must have known they were witnessing something important: Stravinsky’s score inspired countless composers and quickly assumed its place as a canonic work in the orchestral repertoire. The Rite of Spring has been choreographed more than any other music of the past century.

From its ethereal bassoon solo opening to the sacrificial finale – in which a young girl dances herself to death – The Rite of Spring has captured the imagination of artists and audiences for the last century.

The Rite of Spring was both an end and a beginning: a farewell to the ballet tradition and the Romantic orchestral works of the 19th century, and the birth of the avant-garde movement in the 20th. It brought together the work of three great artists: composer Stravinsky, choreographer Nijinsky and visual artist and costume designer Nicholas Roerich. In re-interpreting archaic iconography and Russian folk traditions, the creators found an artistic language wholly modern, in step with a decade marked by the sinking of the Titanic and the horrors of World War I. Looking back after a century, The Rite of Spring appears more relevant than ever.

“The Rite of Spring is one of the most important works in the history of music.”

– Leonard Bernstein

“It took Stravinsky, in one bold and sudden gesture, to grab music painfully and brutally, and to blast it into a wholly new region from which it could never return.”

– Peter Gutmann, Classical Notes

“…it might be the work of a madman.”

– Giacomo Puccini

By William Robin, UNC-Chapel Hill doctoral candidate in music.

His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

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100 years later “as important to the 20th century as Beethoven’s Ninth is to the 19th” –The Times (London)

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Anne Bogart & Bill T. Jones

The Rite of Spring was significant not just as a riot-inspiring act of modernism, but also for its embrace of the interdisciplinary.

Igor Stravinsky, Vaslav Nijinsky and Nicholas Roerich brought cutting-edge visuals and music together on a single stage.

In the spirit of this cross-medium collaboration, Carolina Performing Arts and UNC-Chapel Hill will present a year-long centennial commemoration of The Rite of Spring, embracing all aspects of the multifaceted work. From September 2012 through May 2013, UNC’s campus will be home to performances, academic conferences and courses exploring the impact of The Rite and what the work means today.

Carolina Performing Arts has commissioned 11 new works from important artists across the globe – choreographer Bill T. Jones and director Anne Bogart, puppeteer Basil Twist, composer Dmitri Yanov-Yanovsky, jazz pianist Vijay Iyer, among others – who reimagine The Rite, bringing a contemporary flavor to the 1913 masterpiece. The Rite of Spring at 100 will present international dance companies’ reinterpretations of the original ballet and a reconstruction of Nijinsky’s groundbreaking choreography by the Joffrey Ballet.

The UNC campus is actively participating in the discussion of the impact of The Rite of Spring and its historical lineage through artistic residencies, masterclasses, interdisciplinary course offerings and two major academic conferences taking place in Chapel Hill and Moscow. The Rite of Spring at 100 celebrates the dawn of modernism through an exploration of artistic creation and scholarly dialogues that will foretell what awaits us in the future.

By William Robin, UNC-Chapel Hill doctoral candidate in music.

His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

Basil Twist

Brooklyn Rider

Yo-Yo Ma

Valery Gergiev

www.TheRiteofSpringat100.org Vijay Iyer

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thank you

Carolina Performing Arts’ year-long celebration The Rite of Spring at 100 would not be possible without the support of our donors. Major funding has been provided by The Andrew W. Mellon Foundation, The William R. Kenan, Jr. Charitable Trust, and the National Endowment for the Arts.

Thank you to the following individuals, foundations and corporate partners for championing this historic year for the arts at Carolina.

The RITE OF SPRING AT 100 GIFTS Commitments received as of October 1, 2012 Benefactor ($250,000 and above) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation Stravinsky Circle ($100,000 - $249,999) Thomas F. Kearns, Jr. Frank and Elizabeth Queally Diaghilev Circle ($50,000-$99,999) Jane Ellison The John W. and Anna H. Hanes Foundation Thomas S. Kenan III Joseph and Beatrice Riccardo Paul Rizzo Wyndham Robertson Kay and Van Weatherspoon Nijinsky Circle ($25,000-$49,999) Munroe and Becky Cobey William D. and Dr. Sally C. Johnson Lisa and Theodore Kerner, Jr., M.D. Patricia and Thruston Morton National Endowment for the Arts Michael and Amy Tiemann Ballets Russes Society ($10,000-$24,999) Mary Louise and John Burress Peter D. and Julie Fisher Cummings Jaroslav and Barbara Hulka Mrs. Frank H. Kenan Anne and Mike Liptzin 10

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Carol and Rick McNeel Josie Ward Patton Shirley C. Siegel Wells Fargo 1913 Society ($5,000 - $9,999) Lee and Libby Buck Robert and Mary Ann Eubanks Fine Feathers Paul Fulton Cheray Hodges Jon and Mary Leadbetter Drs. Michael and Christine Lee Harriet and D.G. Martin James and Susan Moeser James and Florence Peacock Peacock Alley Gifts Phil and Kim Phillips Sharon and Doug Rothwell Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn Contributors (Under $5,000) Blanche and Zack Bacon Tina and Jerry Bell in honor of Cheray Z. Hodges Rhoda L. and Roger M. Berkowitz Suejette and David Brown Cliff and Linda Butler Bruce Carney and Ruth Ann Humphry Hodding Carter and Patricia Derian Sophia S. Cody Mr. and Mrs. Woody Coley Julia and Frank Daniels, Jr. Jo Anne and Shelley Earp Linda Frankel and Lewis Margolis

Borden and Ann Hanes Wade and Sandy Hargrove Highland Vineyard Foundation Dr. Marcia Anne Koomen Irwin and Susan Levy Grey Lineweaver Mary and Paul Livingston James and Connie Maynard Linda Perry in honor of Cheray Z. Hodges Louise and Harold Pollard Ron Strauss and Susan Slatkoff Jillian Vogel Susan Wall Nan Weiss Beth and Julian Williamson SPECIAL THANKS TO OUR CORPORATE PARTNERS CORE Catering Chapel Hill Magazine (local media sponsor) Fine Feathers Home on the Range KPO Photo McDuffie Design Parlez-Vous Crepe Peacock Alley Gifts Rivers Agency University Florist

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Tis the Season‌ This holiday season, consider making a gift to Carolina Performing Arts in support of the many ways the arts have enriched your life this year.

Looking for the perfect gift?

Make a contribution in honor of someone who loves the arts.

Your support will help make possible inspiring and ground-breaking performances as well as one-of-a-kind education programs with our world-class artists.

Spread a little joy with a gift to Carolina Performing Arts.

Visit carolinaperformingarts.org/impact to learn more.

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Anne Bogart & Bill T. Jones

Coming soon to UNC’s Memorial Hall Carolina Chocolate Drops

january ///////////////////////////////////////

JAN 19 Radu Lupu, piano JAN 25/26 Bill T. Jones/Arnie Zane Dance Company and SITI Company (World Premiere)

FEBRUARy ////////////////////////////////////// Jazz at Lincoln Center Orchestra

FEB 8 Carolina Chocolate Drops and Vusi Mahlasela

FEB 9 Abigail Washburn and Kai Welch with special guest Wu Fei

FEB 10 Jazz at Lincoln Center Orchestra with Wynton Marsalis

FEB 20 Magdalena Kožená, mezzo-soprano and Yefim Bronfman, piano

FEB 22 Dafnis Prieto Sextet

FEB 25 KODO FEB 26/27 Alvin Ailey American Dance Theater

KODO

Rite of Spring at 100 Performance

Alvin Ailey American Dance Theater

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Fall Gala Carolina Performing Arts launched its eighth season and The Rite of Spring at 100 on September 28 with a fall gala. One hundred and eighty people joined us at the FedEx Global Education Center for an evening of music and celebration, including special guests Yo-Yo Ma and the Silk Road Ensemble.

The highlight of the evening was a special performance by the Silk Road Ensemble of a selection from Sacred Signs, a new work commissioned by CPA for Rite 100 by composer Dmitri Yanov-Yanovsky.

Thank you to everyone who helped make this incredible evening possible, especially Cheray Z. Hodges, the gala committee chair.

Mark your calendars for the spring gala on Saturday, April 27, followed by a performance by the Martha Graham Dance Company in Memorial Hall.

Photos by KPO Photo

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not quite sure what you like?

Sometimes you don’t know until you see it…

Gilberto Gil

At Carolina Performing Arts, we try to provide you with a wide variety of performances so you can experience world-renowned favorites along with cutting-edge new artists.

We want to provide you the opportunity to view the world through a different lens and expand your horizons by presenting artists who help us all think about our world beyond our everyday lives.

Isn’t that what it’s all about?

With this in mind, the following thematic collections offer you another way of looking at the performances in this brochure and may be helpful as you build your personal 12/13 season.

Giants

These performances feature living legends – artists recognized as being at the absolute peak of their field.

Alvin Ailey American Dance Company

NOV 14 Orchestre Révolutionnaire et Romantique and the Monteverdi Choir

JAN 25/26 Bill T. Jones/Arnie Zane Dance Company and Siti Company

FEB 10 Jazz at Lincoln Center Orchestra with Wynton Marsalis

FEB 26/27 Alvin Ailey American Dance Theater

MAR 17 The Cleveland Orchestra

MAR 23/24 Joffrey Ballet

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Need some peace in your life? Looking to be transported to another place? These performances will do just that.

Vijay Iyer

NOV 11 Pierre-Laurent Aimard, piano

DEC 1/2 The Nutcracker – Carolina Ballet

DEC 7 Jazz for the Holidays – NC Jazz Repertory Orchestra with special guest John Pizzarelli

JAN 19 Radu Lupu, piano

FEB 20 Magdalena Kožená, mezzo-soprano and Yefim Bronfman, piano

MAR 20 Kurt Elling

APR 20/21 Spring Dance – UNC School of the Arts

Stir your soul with these cutting-edge, avant-garde performances

NOV 16 Brooklyn Rider

APR 3/5 Nederlands Dans Theater I

APR 12/13 Basil Twist, puppeteer, with Orchestra of St. Luke’s

APR 26/27 Martha Graham Dance Company – Myth & Transformation

❉ Escape

Breakthrough

High Energy

These performances are energetic and loud; come prepared to get up, stand up and dance!

NOV 12 Gilberto Gil

FEB 8 Carolina Chocolate Drops and Vusi Mahlasela

FEB 9 Abigail Washburn and Kai Welch with special guest Wu Fei

Global Views

Travel the globe without leaving the Triangle.

The world comes to you at UNC’s Memorial Hall.

NOV 27 Chucho Valdés

FEB 22 Dafnis Prieto Sextet

FEB 25 KODO

MAR 26 Vijay Iyer and International Contemporary Ensemble, with video by Prashant Bhargava

Martha Graham Dance Company

carolinaperforming performingarts arts15 15 2012/13 //////carolina

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“A virtuoso of imagination” – The New York Times

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SUN, NOV 11 at 7:30PM

PierreLaurent Aimard, piano ESCAPE

Classical music performances are made possible

by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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////////////////////////////////////////////////////////////////////////// Program Notes LIVE with Pierre-Laurent Aimard, piano After the concert, Nov. 11 | Memorial Hall

PROGRAM Préludes, Book II................................................................................. Debussy Brouillards................................................................................(1862-1918) Feuilles mortes La puerta del vino "Les fées sont d'exquises danseuses" Bruyères "General Lavine" – eccentric La terrasse des audiences du clair de lune Ondine Hommage à S. Pickwick, Esq., P.P.M.P.C. Canope Les tierces alternées Feux d'artifice INTERMISSION Elis – Three Night Pieces for Piano................................................. Heinz Holliger ....................................................................................................(b. 1939) 12 Symphonic Etudes, Op. 13........................................................... Schumann Thema. Andante........................................................................(1810-1856) Nr. I Un poco piu vivo Nr. II Nr. III Vivace Nr. IV Nr. V Scherzando Nr. VI Agitato Nr. VII Allegro molto 5

Symphonic Etudes, Op. Post........................................................... Schumann Nr. VIII Nr. IX Presto possibile Nr. X Nr. XI Nr. XII Allegro brillante

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By John Benton

The Swiss composer Heinz Holliger was born in Langenthal in 1939. Widely known as an accomplished oboist, conductor and pianist, he studied composition in the 1960s with Pierre Boulez at the Music Academy of Basel. Holliger was greatly influenced in his compositions by the Second Viennese School, especially by Berg and Webern. Later in his career he created a unique individual style which is characterized by sensitive and unusual tone colors and artistic images

derived from literature. He identified himself with many poets, but his Three Night Pieces from 1961 are inspired by the Austrian poet George Trakl. The poems were named for a 17th-century Swedish boy who died on his wedding day. Georg Trakl wrote a series of “Elis” poems, and Holliger’s three brief ethereal pieces are given the titles: I. “Elis, when the blackbird calls in the black woods – This is your decline,” II. “Blue Doves – Drink at night the icy sweat – Which runs from Elis’s crystal brow,” and III. “A golden boat – sways your heart, Elis – in the lonely sky.” These pieces are atonal with references to twelve-

NOV 11

SUN, 7:30pm

tone compositional techniques. Short fragments, or gestures, permeate each piece, which depicts the character Elis as caught between an elegiac dream and death.

In 1833, Chopin published his Etudes, Op. 10. A few years later, Schumann began working on what he called Variations pathétiques, then retitled Twelve Davidsbündler Etudes.

We now have come to know Op. 13 simply as the Symphonic Etudes. This work serves as a succession of small pieces enclosed within one major form. In 1858, Brahms discovered several additional “lost” pieces, now called the “posthumous” études. Many pianists find it difficult to fit these five additional études into the perfect structure of the remaining twelve. They contain their own emotional climaxes, but many pianists decide not to separate them during their program. The word “Symphonic” in the title is important. Schumann wanted to go beyond the sound of the piano. Of course he was not the first composer to do this. Schumann at that time was looking for all possibilities, and felt he was competing with Chopin’s Etudes. He was also adherent and sensitive to key relations, and all the variations and études are in relative keys. Within this work Schumann creates a “Carnaval” set of études. He was a master of this in that he was always using masks, which is a very important concept in all Romantic music – and in literature, painting and poetry, for that matter. Robert Schumann was once quoted in 1839 as saying, “Modern pianistic art wants to challenge the symphony orchestra and rule supreme through its own resources.”

The 1830s saw an enlightenment in piano literature and elevated the piano to a truly “symphonic” instrument.

Debussy’s second book of preludes provides an early glimpse into the composer’s later style, in which his earlier impressionistic poetry was supplanted by a greater focus on technique and neoclassical objectivity. In the second volume, the range of Debussy’s tonal articulation is by and large broader than the first. Another distinction between the two volumes is the influence of Igor Stravinsky on the second – most notably of Stravinsky’s ballet scores Petrushka and Le sacre du printemps, which Debussy greatly admired. To Debussy, preludes were the musical equivalent of impressionistic or symbolic painting. His second book of

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/////////////////////////////////////////////////////////// Pierre-Laurent Aimard, piano

preludes, published in 1913, consists of twelve generous vignettes painted in a pastel kaleidoscope of pianistic colors.

Debussy was intrigued by the accentuation of evocative, non-representational moods and subjects. He applied the aesthetic in a musical way so that the elements of melody, pitch, rhythm and form were cast in impressionistic and layered structures. As the Symbolist poets of his day explored the aesthetic rhythm and combination of words, Debussy fused and juxtaposed pitches and textures in twelve symbolic individual musical pieces.

with major orchestras under conductors including Esa-Pekka Salonen, Christoph von Dohnányi, Gustavo Dudamel, Nikolaus Harnoncourt, Peter Eötvös and Sir Simon Rattle.

He has created, directed and performed in residencies, with recent projects at Carnegie Hall, New York's Lincoln Center, Vienna's Konzerthaus, Berlin's Philharmonie, the Lucerne Festival, Mozarteum Salzburg, Cité de la Musique in Paris, the Tanglewood Festival and London's Southbank Centre. Aimard is also artistic director of the prestigious Aldeburgh Festival.

John Benton received his Bachelor of Music and Master of Arts in Teaching degrees from UNC-Chapel Hill. He is currently the choral and orchestra director at McDougle Middle School in the Chapel Hill-Carrboro School System.

Pierre-Laurent Aimard, piano

Highlights of 2012/13 include concerto appearances with the New York Philharmonic, the Budapest Festival Orchestra with Osmo Vänskä, the Philharmonia Orchestra and the Wiener Philharmoniker in Salzburg. He also regularly directs concerts from the keyboard with the Chamber Orchestra of Europe.

Widely acclaimed as a key figure in the music of our time and a significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard enjoys an internationally celebrated career. He performs throughout the world

Aimard has collaborated with many leading composers including György Kurtág, Karlheinz Stockhausen, Elliot Carter, Pierre Boulez, George Benjamin and György Ligeti.

Through professorships at the Hochschule

Köln and Conservatoire de Paris and numerous lectures and workshops worldwide, he sheds an inspiring and personal light on music of all periods. He received the Royal Philharmonic Society’s 2005 Instrumentalist Award and was named Instrumentalist of the Year by Musical America in 2007.

Aimard now records exclusively for Deutsche Grammophon (DG). His first DG release, Bach's Art of Fugue, received the Diapason d'Or and Choc du Monde de la Musique awards, debuted at No. 1 on Billboard's classical chart and topped iTunes’ classical album download chart. He has received ECHO Classik Awards and Germany’s Schallplattenkritik Honorary Prize. His recording of Ives’ Concord Sonata and Songs received a 2005 Grammy Award.

His 2011 release The Liszt Project has been followed by a recording of Debussy’s Préludes in 2012, the 150th anniversary of the composer’s birth. ///

/////////////////////////////////////////////////////////////////////////////////////////////////// /// clara yang

on pierre-laurent aimard In an interview by The Guardian on August 16, 2007, pianist Pierre-Laurent Aimard explains, “…if you want me to give a definition to what I do, I wouldn't say I'm a pianist – I'm a musician, and the piano happens to be my instrument. I don't like to have one function, to give me just one perspective on music. I like to make chamber music, to be part of a group, to play song accompaniments, to teach, to speak about music. In other words, to live the phenomenon on different sides." Mr. Aimard’s thoughts on being a musician have resonated deeply with my own personal experiences in the world of music.

I am passionate about both performing and teaching. As a professional pianist, I enjoy giving solo recitals, performing concerti with orchestras and collaborating with others in chamber music groups. As Assistant Professor at UNC-Chapel Hill, I am constantly involved in multiple teaching activities, such as mentoring many of UNC’s wonderful piano students, conducting piano master classes and giving theory lectures to music majors. The process of teaching

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has always helped me improve as a performer, and being an active performer has helped me gain a better understanding of teaching.

I have found that these various activities have given me many different perspectives on how to become a well-rounded musician. Mr. Aimard’s multi-faceted perspective on music is an inspiration behind my passion for performing and teaching.

Celebrating the 150th anniversary of Claude Debussy's birth, Mr. Aimard will perform Debussy’s “Preludes, Book II” as part of tonight’s recital.

In a recent interview on NPR, Mr. Aimard revealed that he has been overwhelmed by Debussy’s music since he was a child. He finds it filled with the “complexity of colors” and “incredible, rich sonorities.”

Mr. Aimard points out that Debussy often writes in different manners – sometimes he can be realistic, other times very abstract. We will have the pleasure of witnessing Mr. Aimard’s artistry in this wonderful solo program tonight.

Dr. Clara Yang is the Assistant Professor of Piano at UNC Chapel Hill. ///

reframed Peter nisbet |

Chief Curator, Ackland Art Museum

When invited to organize a small exhibition at the Ackland connected to Carolina Performing Arts’ magisterial celebration of The Rite of Spring, and to write about a work of art for “Ackland Reframed,” I knew immediately what I had to choose: the powerful 1914 portfolio of black-and-white lithographs Mystical Images of War by Natalia Goncharova (1881-1962), a key participant in the efflorescence of Russian avant-garde art in the early decades of the last century. The resonances and associations are compelling.

For one thing, 1914 also saw Goncharova’s first designs for Diaghilev, whose premiere of The Rite the previous year had been such a succès de scandale. Goncharova’s stunning sets and costumes for the Paris production of Rimsky-Korsakov’s opera-ballet Le Coq d’Or marked the beginning of her decades-long association with the Ballets Russes and successor companies.

But the connections are not just biographical or circumstantial. They go deeper.

Paralleling Stravinsky’s piece, Goncharova’s portfolio also combines the so-called primitive with the emphatically modern. The sheet illustrated here is a dramatic example, with its juxtaposition of angels and airplanes, traditional religious imagery and the most up-to-date technology. The artist’s crowded z-shaped composition rhymes the wings of the angels with those of the biplanes, as well as a halo with a spinning propeller.

As in her earlier work, Goncharova’s hybrid style draws on a range of stylistic points of reference, from Russian icons and frescoes in the Byzantine-Orthodox tradition to popular Russian 19th-century printed broadsides (the so-called lubki). Stravinsky and his collaborators took extensively from folk religion and folk music, and Goncharova, too, appropriates and

translates the indigenous and the national from the past to make a powerful statement about the modern and contemporary.

This portfolio is inextricably tied to its moment of production: the early stages of World War I. It nationalistically invokes selected Russian traditions to sanctify the new conflict. Apparently participating in the general euphoria that gripped many after the declaration of hostilities, Goncharova presents a mystical affirmation in an inexpensively produced portfolio designed for very wide distribution.

Something of its flavor can be gleaned from describing the portfolio’s other sheets.

It opens with St. George, the victory-bringing saint who slays a dragon. Three sheets introduce allegorical symbols of the anti-German allies: a double-headed white eagle (a Tsarist emblem) swooping down to strangle a hapless black opponent with one beak and grab a crescent moon (perhaps the symbol of the Ottoman Empire, a German ally) in the other; a heraldic depiction of the “British Lion;” and the “French Cock,” crowing atop an artillery barrel as it faces down incoming cannonballs.

Some sheets invoke powerful symbols of the Russian church: the Orthodox saints Peresvet and Oslyaba, mythologized warrior-monks who had taken part in the Russian defeat of the Tartarsat the Battle of Kulikovo in 1380; the 13th-century military hero Alexander Nevsky, later canonized; and the Archangel Michael in his role as the commander of the heavenly armies.

Others develop the apocalyptic theme from the Bible’s Book of Revelations more explicitly, giving voice to the widespread hope that the war would be a cleansing and purifying ordeal: the naked Harlot on the Beast, trampling the bodies of fallen soldiers; angels casting rocks onto a doomed city (a modernized Babylon); the Pale Horse of death ridden by a black angel with a scythe, traversing a field of skeletons.

Some more straightforward images confront the modern army with religion: cavalrymen experiencing a vision of Mary and the Christ Child; marching infantry watched over by hovering angels; a mass grave surmounted by a sorrowful angel with hands and wings outspread; and, of course, the “Angels and Airplanes” image itself.

This quick – but I hope tantalizing – survey brings out another point of connection between this portfolio and the Rite: the troublesome glorification of violence and redemption. We should not forget that the portfolio is a kind of war propaganda, or that the Rite involves human sacrifice, not just the metaphorical violence of percussive musical rhythms, convulsive choreography, and vibrant colors.

Setting Mystical Images of War and The Rite of Spring into this kind of multifaceted dialogue can be provocative and productive: I invite you to visit the Ackland to continue the exploration. ///

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Natalia Goncharova | Russian, 1881-1962 Angels and Aeroplanes from Mystical Images of War, 1914

Lithograph | 12-13/16 x 9-3/8 in. (32.5 x 23.8 cm) | Ackland Art Museum The University of North Carolina at Chapel Hill | Lent by Peter and Cecily Nisbet L2012.1.1.11 | © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris Natalia Goncharova’s portfolio “Mystical Images of War” is on view at the Ackland Art Museum through January 6, 2013.

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“A musical legend…”

– The Guardian

moN, nov 12 at 7:30PM

Gilberto Gil For All ❉ HIGH ENERGY

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///////////////////////////////////////////////////////////////////////////// Program Notes LIVE with David Garcia 6:30pm, Nov. 12 | Historic Playmakers Theatre

nov 12

mon, 7:30pm

Gilberto gil Program to be announced from the stage.

Gilberto Gil, vocals/guitar Sergio Chiavazzoli, guitars Arthur Maia, bass Jorge Gomes, zabumba/drums Toninho Ferragutti, accordion Gustavo di Dalva, percussion Nicholas Krassik, violin/rabeca

Gilberto Gil, vocals/guitar Gilberto Gil’s career began with the accordion, inspired by baião pioneer Luiz Gonzaga, the radio, and local religious parades. Influenced by Joao Gilberto, bossa nova and Dorival Caymmi, he took up the guitar. From the beginning, he has portrayed his country of Brazil, taking on very personal rhythmic and melodic forms.

In 1963, Gil met Caetano Veloso at the University of Bahia. They became key figures in the Tropicalia movement, internationalizing Brazilian music, theater, visual arts, cinema and more along with Gal Costa, Tom Zé, Rogério Duprat, Joseph Capinam, Torquato Neto, Rogério Duarte, Nara Leao and others.

Imprisoned by the military dictatorship due to the political content of his music, Gil was then forced into exile in London, where he recorded an album influenced by The Beatles and Jimi Hendrix, among others.

Returning to Brazil, Gil continued his rich recording output, with 52 albums in total, 4 million copies sold, and nine Grammy Awards. Recordings include Expresso 222, Refazenda, Viramundo, Refavela, Refestança (with Rita Lee), Realce, Nightingale, UmBandaUm, Dia Dorim, Raça Humana, Unplugged MTV, Quanta, Eu Tu Eles, Kaya Na Gandaya (interpretations of Bob

Marley songs), Gil Luminoso, Banda Larga, Banda Dois and Fé na Festa.

In 2002, after his appointment as Brazil’s Minister of Culture, Gil began circulating the international socio-political, environmental and cultural landscape. Under the Ministry, he has designed and implemented new policies ranging from the creation of pontos de cultura (cultural hotspots) to the leading presence of Brazil in forums, seminars and conferences worldwide, working on topics including new technology, copyright, cultural development, cultural diversity and the place of southern countries in the globalized world.

Gilberto Gil has been appointed UNESCO’S Artist for Peace and United Nations’ FAO Goodwill Ambassador and was awarded France’s Légion d'Honneur and Sweden's Polar Music Prize. ///

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/// Eduardo de Jesús Douglas

on gilberto gil

Gilberto Gil and other musicians, who, by the mid-1960s, had emigrated from Bahia to São Paulo (Brazil’s industrial and financial powerhouse) developed a musical style informed by “cannibalism,” often referred to as “Tropicália.” Like the Modernists of the 1920s, the “Tropicalists” cannibalized the foreign – U.S. and British rock and roll; African-American blues, soul, and funk; traditional and “pop” African styles; Cuban bolero and salsa; and “international” avant-garde “art” music, for example. They then combined it with the numerous educated and vernacular musical traditions of Brazil, especially those of Bahia, to create something new, simultaneously universal and Brazilian, radical and traditional.

In the late 1960s, the music of Gil and his colleagues often elicited the same boos and catcalls that initially greeted The Rite of Spring. These works challenged the public to think, see, hear, and feel something new, yet their creators found inspiration in past traditions, which they interpreted and transformed in light of their own contemporary experience.

Today, in 2012, as we prepare to celebrate the upcoming centennial of The Rite of Spring, and as Brazilians celebrate the 90th anniversary of the “Week of Modern Art,” we welcome Gilberto Gil, whose program features forró, one of the musical traditions of his native Bahia. Forró, a term that some believe derives from the “Brazilianization” of the English words “for all,” is as deeply rooted in Brazilian culture and musical history as samba. In the hands of a musician so keenly aware of his country’s deep musical traditions and so attuned to new and perhaps “foreign” possibilities as Gilberto Gil – or Igor Stravinsky – forró will be truly “for all.”

Eduardo de Jesús Douglas is an associate professor of art history at UNC-Chapel Hill. ///

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

Collecting Matisse and Modern Masters THE CONE SISTERS OF BALTIMORE

On view through February 10, 2013 “…a fascinating look at the Cones’ evolving relationships with Picasso and Matisse…”

– The New York Times

Tickets on sale now: 919-684-4444, nasher.duke.edu or in person at the museum.

Nasher Museum members receive two free tickets per day.

LEFT: Henri Matisse, Striped Robe, Fruit, and Anemones, 1940. Oil on canvas, 21½ x 25½ inches. (54.3 x 64.8 cm) BMA 1950.263 ©2011 Succession H. Matisse/ Artists Rights Society (ARS), New York.

This exhibition is organized by The Baltimore Museum of Art, The Jewish Museum, New York, and the Vancouver Art Gallery. In Durham, the exhibition is presented in collaboration with the Nasher Museum of Art at Duke University.

At the Nasher Museum of Art, lead foundation support is provided by the Crow Creek Foundation.

Lead corporate support is provided by Wells Fargo. The media sponsor is NBC17.

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wed, nov 14 at 7:30pm

Orchestre Révolutionnaire et Romantique and the Monteverdi Choir with Sir John Eliot Gardiner, conductor and artistic director GIANTs Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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“It was revolutionary, it was romantic, it was wonderful” – The Times (London)

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////////////////////////////////////////////////////////////////////////// Program Notes LIVE with Sir John Eliot Gardiner and musicians 6:30pm, Nov. 14 | Historic Playmakers Theatre

nov 14

wed, 7:30pm

Elisabeth Meister, soprano Jennifer Johnston, mezzo-soprano Michael Spyres, tenor Matthew Rose, bass The Orchestre Révolutionnaire et Romantique and Monteverdi Choir are supported by the American Friends of the Monteverdi Choir and Orchestra, Inc.

PROGRAM Meeresstille und Glückliche Fahrt, Op. 112....................................................................... Beethoven (Calm Sea and Prosperous Voyage)............................................................................... (1770-1827) PAUSE Symphony No. 9 in D minor, Op. 125............................................................................... Beethoven Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto – Allegro assai – Allegro assai vivace

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By Molly Barnes

In 1815, Beethoven set to music two poems by the great German writer Johann Wolfgang von Goethe: “Meerestille” (Calm Sea) and “Glückliche Fahrt” (Prosperous Voyage), poems that were also set to music by Franz Schubert (in 1815) and Felix Mendelssohn (in 1832). Beethoven chose to set the texts as a short cantata for choir and orchestra.

The two poems, conceived by Goethe as a pair, convey a marked difference in mood, a difference reflected in Beethoven’s musical choices. The first section of the cantata, the longer of the two, communicates a beautiful but increasingly anxious stillness, punctuated by intense moments of fear. Here, the poetry describes a boatman who surveys the motionless sea in terrified anticipation of an impending storm. The second section bursts forth in a great wave of song, demonstrating the boundless joy of the sailor when the winds swell and the sun glistens upon the waves, dispelling any lingering dread of nature’s fury.

Many consider Beethoven’s Ninth Symphony (nicknamed the “Choral”) to be the ultimate masterwork of his artistic career, and in some ways the piece represents a culmination of various creative and personal

developments throughout his life. The symphony was composed in the year 1823 and was premiered the next year, by which time the composer was almost entirely deaf. Audiences had never heard such a lengthy and monumental musical work of such expressive magnitude. The first three movements – a foreboding opening allegro, a rousing Scherzo, and an achingly beautiful slow movement – run the gamut of emotional experience. The mysterious opening of the first movement slowly gathers power, leading to an explosive first theme whose lofty despair is finally overcome in the unprecedented final movement. Indeed, in this last movement Beethoven achieved with stunning success a feat no one else had ever dared to attempt: the incorporation of a full choir and vocal soloists into a symphony.

The result is a finale of unparalleled virtuosity and dramatic intensity; here Beethoven mercilessly demands every ounce of skill and energy from singers and instrumentalists.

The text praises the goddesses Joy and Nature, and calls for a union of all humankind in reverence to the Creator. Beethoven had planned for decades to set this section

of text from the larger poem of 1799, “An die Freude” (“To Joy”) by the German Enlightenment poet and philosopher Friedrich Schiller. The melody of this finale remains one of the most universally recognized tunes of our time.

Few works of Western music can boast the international recognition and admiration that Beethoven’s Ninth Symphony enjoys.

The last movement in particular has gained currency in advertisements, films, and other media. Whether Beethoven intended it or not, the symphony has also become a symbol of global brotherhood and unity. Perhaps most famously, the composer and conductor Leonard Bernstein led a performance of the symphony at the fall of the Berlin Wall in 1989. Almost two centuries after its premiere, this work continues to inspire awe and elicit passionate responses among audiences across the world.

Molly Barnes is a third-year graduate student in music at UNC-Chapel Hill.

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////////////////////////////////////////////////////////////// orchestre rÉvolutionnaire PROGRAM notes Orchestre Révolutionnaire et Romantique The Orchestre Révolutionnaire et Romantique (ORR) was founded by Sir John Eliot Gardiner in 1989 with the aim of bringing to the music of the 19th and early 20th centuries an equivalent stylistic fidelity and intensity of expression characteristic of his renowned period-instrument orchestra, the English Baroque Soloists.

From its inception, the ORR won plaudits internationally, notably for its interpretation of the works of Beethoven, which it performed extensively and recorded for Deutsche Grammophon in the 1990s. In 2011, the Orchestra returned to this repertoire for the first time in nearly 20 years, with a successful tour of Beethoven symphonies in Europe and the US. In 2012, they continue with a tour of the Missa Solemnis.

ORR has been acclaimed for its interpretations of all the major early Romantic composers, starting with Hector Berlioz. Other critically

acclaimed initiatives include the “Schumann Revealed” project at the Barbican in 1997 that led to recordings of the complete Schumann symphonies and Das Paradies und die Peri. This was followed a decade later by “Brahms: Roots and Memory” at the Salle Pleyel and the Royal Festival Hall in 2007/08, in which Brahms’ four symphonies were set in the context of his most significant choral works and music of the 16th to 19th centuries that he himself transcribed and conducted. The project was recorded for the ensembles’ own label, Soli Deo Gloria.

Operas by Weber (Oberon and Le Freyschütz), Bizet (Carmen), Chabrier (L’Etoile), Verdi (Falstaff) and Debussy (Pelléas et Mélisande) have been performed in new productions in Europe. Performances in 2011/12 included Debussy’s Pelléas et Mélisande at the BBC Proms and works by Brahms, Bruckner (Mass in E minor), and Stravinsky’s Symphony of Psalms. Touring engagements for 2013 include Berlioz’s La Damnation de Faust and Beethoven Symphonies Nos. 2 and 8.

The Monteverdi Choir The Monteverdi Choir, founded in 1964, is famous for its passionate, committed and virtuosic singing. Over the past 45 years it has been consistently acclaimed as one of the best choirs in the world, noted for its ability to switch composer, language and idiom with complete stylistic conviction. The Choir is also a fertile training ground: Many of its choristers have gone on to spectacular solo careers.

The Choir has undertaken trail-blazing tours including the Bach Cantata Pilgrimage in 2000, during which they performed all 198 of J.S. Bach’s sacred cantatas throughout Europe to celebrate the 250th anniversary of the composer’s death. The entire tour was recorded by the company’s own record label, Soli Deo Gloria. Another large-scale project in 2004 took the musicians on the road to Santiago de Compostela, where they performed a cappella Spanish polyphony in churches en route.

With more than a hundred recordings and numerous prizes to its name, the Choir regularly participates in staged opera productions and is currently serving a fiveyear residency at the Opéra Comique in Paris.

In the past two years, the Choir has sung in several performances of Beethoven’s 9th Symphony with the London Symphony Orchestra under John Eliot Gardiner to great critical acclaim. In 2011/12, it took part in a variety of projects across other repertoires, including (together with ORR) music by Brahms, Bruckner and Stravinsky; tours and recordings of a cappella English renaissance music and Bach’s Ascension Cantatas with the English Baroque Soloists. It also began new collaborations with the Berlin-based Mahler Chamber Orchestra (Schumann’s Manfred) and the Orchestre National de France (Berlioz’s Grande Messe des Morts).

2013 highlights include Bach’s St. John Passion and B Minor Mass in Europe, and the Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne. The Choir’s collaboration with the London Symphony Orchestra continues with performances of Stravinksy’s Oedipus Rex.

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Sir John Eliot Gardiner, conductor and artistic director One of the most versatile conductors of our time, John Eliot Gardiner appears regularly with leading symphony orchestras. Formerly artistic director of the Opéra de Lyon, since the 2006 season he has conducted new productions of L’Etoile (Chabrier), Carmen, Pelléas et Mélisande and the Weber-Berlioz Le Freyschütz at the Opéra Comique in Paris. He appeared at the Royal Opera House, Covent Garden with Rigoletto in April, 2012.

In July, he finished the season with performances of Berlioz’s Grande Messe des morts at the Festival de Saint-Denis with the Orchestre National de France and the Monteverdi Choir.

Acknowledged as a key figure in the early music revival of the past four decades, he is the founder and artistic director of the Orchestre Révolutionnaire et Romantique, the English Baroque Soloists and the Monteverdi Choir, recently voted best choir in the world. With them he has undertaken a number of ambitious large-scale tours. He opened the Salzburg Festival 2012 with Haydn’s The Creation with the Monteverdi Choir and English Baroque Soloists. 2013 highlights include Berlioz’s La Damnation of Faust and Bach’s Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne.

Gardiner has made over 250 recordings for major record companies and received numerous international awards, including Gramophone’s recent Special Achievement Award for live recordings of the complete church cantatas of J.S. Bach. He has received several international prizes and honorary doctorates. In 1992, he became an Honorary Fellow of King's College London and the Royal Academy of Music and in 2007/08 a Visiting Fellow of Peterhouse, Cambridge. He was made a CBE in 1990 and a Knight Bachelor in the 1998 Queen's Birthday Honors List. In 2008, he was awarded the Royal Academy of Music/Kohn Foundation's prestigious Bach Prize. He was nominated Commandeur dans l'Ordre des Arts et des Lettres in 1996 and made Chevalier de la Légion d'Honneur in 2010.

Elisabeth Meister, soprano The 2011/12 season saw British soprano Elisabeth Meister in the title roles Aïda and Lucrezia Borgia, as well as Elisabeth (Tannhäuser), for Teatro Municipal Santiago.

In addition, she performed First

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et Romantique

/// Grant Llewellyn

on orchestre rÉvolutionnaire et Romantique I first encountered John Eliot Gardiner in the mid-1970s when I played principal cello in my school orchestra at Chethams School of Music in Manchester, England. Gardiner, there to direct a couple of concerts, was a force on the rostrum but since the fascination with early music and period instrument performance was still in its infancy in the UK, I had no idea that the conductor leading us through Stravinsky's Firebird Suite, Dvorak's 8th and Shostakovich's 5th Symphonies had already embarked on a quest to redefine performance techniques and the musical parameters that would inform the entire classical music world for years to come.

I vividly remember his athletic musical intelligence, the keen sense of color and detail which was shown through word and gesture, and a number of those conversations and situations which occur only in live music. I was also taken by his approachability and took advantage by becoming somewhat of a groupie over the following years, attending his performances wherever possible.

The first-ever Messiah on period instruments at London's Barbican, where I first heard live the still incomparable Monteverdi Choir in full voice, remains with me. My presence at numerous performances at the Festival International d’Art Lyrique in Aix-en Provence inspired the comment from Gardiner, "Llewellyn, you keep turning up like a bent penny," which I took as a compliment at the time.

Since then Monteverdi, Handel, Bach, Haydn, Mozart, Beethoven, Berlioz, Schubert, Schumann, Brahms, Verdi and so many others have enjoyed the scrutiny and passion of the Gardiner treatment, and I have had the opportunity to work with many of the musicians from the period instrument world as well.

Nowadays, you start rehearsals with many of the world's orchestras with a common understanding of early music performance practice already mutually assumed. This is a transformation of epic proportions, compared with the approach of the 1960s, and is in no small way thanks to the pioneering work of John Eliot Gardiner.

For all the scholarship, the dogged, uncompromising rehearsal and the trial and error that has gone into this voyage of musical discovery, what stays with me at each new performance I hear is the sheer thrill of the music. There is a visceral excitement to every Gardiner show that provides an ideal to all of us striving in the music world.

Grant Llewellyn has served as Music Director of the North Carolina Symphony since 2004. With its first formal performance in Chapel Hill in 1932, this season is the NC Symphony’s 80th Anniversary. ///

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Lady (Die Zauberflöte) and cover title Ariadne auf Naxos for Chicago Lyric.

The 2012/13 season includes Helmwige and cover Sieglinde (Die Walküre) and Third Norn (Götterdämmerung), Ker (The Minotaur), and title covers Gloriana and Turandot for the Royal Opera House, Covent Garden.

A former member of the Jette Parker Young Artists Programme, Miss Meister’s roles for the Royal Opera include Pale Lady (The Gambler), Fox (The Cunning Little Vixen), High Priestess (Aïda), Costanza (L’isola Disabitata), First Lady (Die Zauberflöte) and Dama Macbeth. In addition, she covered the title roles Der Rosenkavalier, Aïda and Anna Nicole, as well as Polina (The Gambler) and Ellen Orford (Peter Grimes).

Concert repertoire includes Dvorˇák’s Stabat Mater, Elgar’s Caractacus, The Dream of Gerontius and The Kingdom, Haydn’s Creation and Nelson Mass, Mahler’s Eighth Symphony, Mendelssohn’s Elijah, Mozart’s C Minor Mass and Requiem, Orff’s Carmina Burana, Rossini’s Petite Messe Solennelle and Stabat Mater, Tippett’s A Child of our Time, Vaughan Williams’ A Sea Symphony and Verdi’s Requiem, among many other works.

Miss Meister was born in Bristol and was educated at Backwell School before moving to London to train at the Royal Academy of Music and the Guildhall School of Music and Drama. She sang with the Glyndebourne Festival Opera and Welsh National Opera choruses before continuing her development at the Cardiff International Academy of Voice, where she studied with Dennis O’Neill, CBE. She continues her studies at the Royal Opera with Paul Farrington and Andrew Watts.

Jennifer Johnston, mezzo-soprano A BBC New Generation Artist named by BBC Music Magazine as a Rising Star and by the Financial Times as the “Face to Watch in Opera,” Jennifer Johnston has received numerous awards including Second Prize in the Montserrat Caballé International Singing Competition, two Susan Chilcott Scholarships and a Wingate Scholarship.

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With a repertoire that spans the centuries, she has performed with many of the world’s greatest orchestras and appeared in opera at the Salzburg Festival, the Edinburgh International Festival, the Festival d’Aixen-Provence, Opera de Lille, the Aldeburgh Festival, Scottish Opera and Opera North in roles including Fricka, Waltraute, Suzuki, Dido, Hänsel, Mrs. Herring, Giovanna Seymour, Lucretia and Agrippina.

A noted recitalist, she has appeared at the Cheltenham, City of London, Perth and Aldeburgh Festivals and broadcasts regularly on Radio 3, partnered by Graham Johnson, Malcolm Martineau, Alisdair Hogarth and Joseph Middleton. Her growing discography includes Britten songs with Martineau for Onyx Classics (2011) and Thuille songs with Middleton for Champs Hill Records (2013).

Her engagements in 2012/13 include Second Norn (Götterdämmerung) at the Bayerische Staatsoper and at the Munich Festival, Jocasta (Oedipus Rex) with the London Symphony Orchestra for Sir John Eliot Gardiner’s 70th birthday in London and Paris, a tour of Europe and the US, including her debut at New York’s Carnegie Hall of Beethoven’s Missa Solemnis and Symphony No. 9 with Sir John Eliot Gardiner, Haydn’s Paukenmesse (BBC Scottish Symphony Orchestra with Bernard Labadie), Handel’s Messiah (Royal Liverpool Philharmonic with Diana Cummings), Britten’s Spring Symphony (BBC National Orchestra of Wales with David Atherton), Beethoven’s Symphony No. 9 (Bournemouth Symphony Orchestra with Kirill Karabits), Bach’s B Minor Mass (Northern Sinfonia) and her solo recital debut at Wigmore Hall with Joseph Middleton, broadcast live on BBC Radio 3.

Michael Spyres, tenor Michael Spyres’ 2011/12 highlights included appearing at La Scala di Milano as Rodrigo in Rossini's La donna del lago under Roberto Abbado, a concert tour of Beethoven's 9th Symphony with the London Symphony Orchestra, Candide at the Opera di Roma, Edgardo in Lucia di Lammermoor with Minnesota Opera, Masaniello in Auber's La Muette de Portici in Paris (Opérain co-production with La Monnaie

in Brussels), Liszt's Faust-Symphonie in Liège, Berlioz's Requiem at the St. Denis Festival, and Baldassare in Rossini's Ciro in Babilonia at the Caramoor Festival and the Rossini Festival in Pesaro.

2012/13 appearances include Faust in Berlioz's La damnation de Faust at the Vlaamse Opera; Missa Solemnis and Beethoven's 9th Symphony at Carnegie Hall; Don Ramiro in La Cenerentola at Palm Beach Opera; Masaniello in La Muette de Portici in Bari; Verdi's Messa da Requiem in Porto; Candide at the Vlaamse Opera, Rodrigo in Rossini’s La donna del lago at the Royal Opera, Covent Garden; and Arnold in Guillaume Tell at the Bad Wildbad Festival (including a CD recording for Naxos).

He will also sing a concert in Moscow in February 2013.

In 2013/2014, he will debut at Lyric Opera Chicago as Alfred in Strauss's Die Fledermaus and in 2014/2015 he will return to Covent Garden in a new production of Mozart's Idomeneo and to Opéra Comique de Paris as Berlioz's Benvenuto Cellini under John Eliot Gardiner.

Michael Spyres has recorded Rossini's La Gazzetta, Otello and Le siège de Corinthe for Naxos. His first recital CD was released in 2011. Rossini’s Otello from the Bad Wildbad Festival will be released on DVD.

Matthew Rose, bass Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden.

For the Royal Opera his roles have included Polyphemus (Acis and Galatea), Masetto (Don Giovanni), Haraschta (The Cunning Little Vixen) and Colline (La bohème). In 2006, he made an acclaimed debut at the Glyndebourne Festival as Bottom (A Midsummer Night’s Dream) – for which he received the John Christie Award – and has since sung the role at La Scala, Milan; the Royal Opera; the Opéra National de Lyon and the Houston Grand Opera.

Other roles include Nick Shadow (The Rake’s Progress) at the Glyndebourne Festival and the Gothenburg Opera; Leporello at the

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Glyndebourne Festival and in Santa Fe; and Mozart’s Figaro for the WNO, at the Opéra de Lille and at the Bayerische Staatsoper, Munich.

His engagements this season include his debut at the Metropolitan Opera, New York as Colline; Sparafucile (Rigoletto) for the Royal Opera and Claggart (Billy Budd) at the English National Opera.

In concert, he has appeared at the Edinburgh Festival, the BBC Proms, and the Mostly Mozart Festival in New York with engagements including the London Symphony Orchestra, the Los Angeles Philharmonic, the Dresden Staatskapelle, the BBC Symphony Orchestra, the London Philharmonic, L’Orchestre Révolutionnaire et Romantique, the Boston Symphony Orchestra and the Accademia Nazionale di Santa Cecilia. Recital appearances include the Brighton, Chester and Cheltenham International Festivals, the Concertgebouw in Amsterdam and London’s Wigmore Hall.

Rose is a prolific recording artist. In addition, his roles on DVD include Nick Shadow (The Rake’s Progress) and Mr. Flint (Billy Budd) from Glyndebourne and Polyphemus (Acis and Galatea) from Covent Garden, all on Opus Arte. www.monteverdi.co.uk Sir John Eliot Gardiner appears courtesy of Askonas Holt.

Exclusive Tour Management Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 www.opus3artists.com ///

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FRI, nov 16 AT 8PM

Brooklyn Rider Make It New with Shara Worden, Gabriel Kahane and Dance Heginbotham Featuring new works commissioned by Carolina Performing Arts

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❖ breakthrough

“Few young artists are as versatile as the four gentlemen of the string quartet Brooklyn Rider” – New Yorker

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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nov 16

fri, 8pm

Brooklyn rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello

PROGRAM NOTES Guest Artists Shara Worden Gabriel Kahane

program Three Pieces for String Quartet (1914, rev. 1918) ........................................Stravinsky Danse.............................................................................................. (1882-1971) Excentrique Cantique String Quartet No. 2, Sz. 67 (1915-1917) .........................................................Bartók Moderato ......................................................................................... (1881-1945) Allegro molto cappricioso Lento The Alchemist (2011) ................................................................................. John Zorn ............................................................................................................(b. 1953) INTERMISSION The Fiction Issue (2012) ..................................................................... Gabriel Kahane (Carolina Performing Arts premiere;.........................................................(b. 1981) commissioned by Carnegie Hall) In the Early Days There Were Mornings Ascending the Steps Dressed, Shaved, Flip-Flopped In the Early Days (II) I Have to Write Badly for a Long Time He, the Poet, Had the Look… (passacaglia) Some Nights (O Falling Body) In My Room Brooklyn Rider

Gabriel Kahane, piano, reed organ, guitar and vocals Shara Worden, reed organ, guitar and vocals

Chalk and Soot (2012) ......................................................................................Colin Jacobsen (Commissioned by Carolina Performing Arts)..................................................... (b. 1978) Brooklyn Rider Shara Worden, vocals Gabriel Kahane, reed organ Dance Heginbotham: John Heginbotham, choreography John Eirich, dancer Allysen Hooks, dancer Lindsey Jones, dancer BJ Randolph, dancer Nicole Pearce, lighting design Maile Okamura, costume design Anne Dechene, production manager Disconnect, Delay, Lean and Release: ..................................................... Shara Worden A ritual dance for the modern day (2012)..................................................(b. 1974) (Commissioned by Carolina Performing Arts)

By the artists

It is an honor to be a part of this historic Carolina Performing Arts season. Initially excited by the celebration of one of the most iconic works in the history of music, we had to pause in order to consider the scope and content of our program; after all, what commentary can a string quartet offer on The Rite of Spring? We became excited by the pithy modernist mantra of Ezra Pound – "Make it new!" For what age has this imperative not held true? The drive to create things anew has always been at the heart of our tradition, but modernism as a 20th-century construct suggested to us that the field of creation was more open than it ever had been before. While history and tradition were by no means to be ignored, the very range of possibility was blown open with the premiere of The Rite of Spring. If all bets were off with "Make It New,” one of the results has been that composers have since expanded their playground of ideas globally and across the span of history.

And yet, Stravinsky himself famously hated the very term modernism. While it is certainly true that each era can only know what it means to be of its time, perhaps one of Stravinsky's most enigmatic gifts to posterity was his role as chief provocateur (a role he likely relished, as the tone of the following quote seems to hint): ...what do we understand by the term modernism? In the past the term was never used, was even unknown.

Yet our predecessors were no more stupid than we are. Was the term a real discovery?

We have shown that it is nothing of the sort.

Might it be a sign of decadence in morality and taste? Here I strongly believe we must answer in the affirmative... (from Poetics of Music, 1939) We also see the opportunity to connect with the work of another group that was very important to the modernist movement (and even more importantly to us, our namesake!), an artistic collective known as The Blue Rider (Der Blaue Reiter). A circle of like-minded artists and musicians founded by the Russian-born expressionist Wassily Kandinsky and active from 1911 to 1914, they were united by their quest to achieve heightened synthesis of artistic expression through abstraction of form and content. And so, just a few months prior to the premiere

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of The Rite of Spring in Paris, another artistic milestone of the century occurred in Munich – the publication of the Der Blaue Rieter Almanac. This unleashed a highly influential collection of essays on art and music and illustrations featuring a stunning array of folk art from around the world, all of which sought to present a synthesized view of the avant-

garde to a wide-reaching audience. Our own Colin Jacobsen dives directly into this era as a springboard for his work, Chalk and Soot.

Kandinsky's 1912 book of Dadaistic poetry and woodcuts, Klänges (German – “Sounds”) sought to engage the imagination with the inner meaning of words and visuals. Colin's work explores the sound of words emptied

of their quotidian meaning. Honoring the central connection of dance and Stravinsky, Colin's work will include choreography by Brooklyn-based John Heginbotham featuring his dance company, Dance Heginbotham, also drawing some of its visual cues from Kandinsky's Klänges.

Inspired by the living connections between artistic mediums, we feel an affinity with the tenants of The Blue Rider and the potent concoction of music, dance and visual art which comprised The Rite of Spring. Living in the pluralistic artistic mecca of Brooklyn, we count amongst our friends and collaborators musicians from many different musical worlds as well as dancers, writers, visual artists, etc. We are motivated equally by the historical quartet tradition as well as the creative possibilities of the present as a way to help re-imagine the string quartet as a vital 21st-century ensemble. And so, tonight's concert will alternatively explore seminal works from the period directly following The Rite of Spring and offer a representation of what the phrase “Make it New!” means in the present context of Brooklyn Rider and our circle. We are grateful to all of our friends who are part of this program – such a gathering might only be possible in the context of this extraordinary season.

– Nicholas Cords

Three Pieces for String Quartet (1914, rev. 1918) Igor Stravinsky The Three Pieces for String Quartet were written in 1914, just a year after the monumental Rite of Spring, and revised in 1918. Representing an austere turn away from the complexity and grandeur of Firebird, Petroushka and The Rite, these miniatures foreshadowed much of Stravinsky's later direction towards a neo-classical approach (a term which he found completely meaningless – his preferred description was Apollonian principles), which drew on sources ranging from the Renaissance to the classical period. Stravinsky himself acknowledged that these pieces, written in just three short days, were a pivotal moment in his compositional output. He later added titles to these movements when they were orchestrated some years later. The first, Danse, evokes a minimal Russian folk

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dance style. The second, Excentrique, was "inspired by the eccentric movements and postures of the great clown, Little Tick," whom Stravinsky witnessed in London.

The last, Cantique, was described by the composer as "choral and religious."

- Nicholas Cords

The Alchemist (2011) John Zorn The Alchemist – a true and faithful chronicling of the esoteric spiritual conferences and concomitant hermetic actions conducted by Her Majesty's Alchemist Dr. John Dee and one Edward Kelley invoking the Nine Hierarchies of Angelic Orders to visible appearance, circa 1587. A trip through an Alchemist's laboratory. A séance invoking angelic orders.

Virtuosic lyricism, numerology, prayers, canons, contrapuntal complexity, alchemical procedures (distillation, calcination, crystallization, sublimation, purification, rotation) and the ghost of a fugue.

– John Zorn

String Quartet No. 2, Sz. 67 (1915-1917) Béla Bartók While many consider Stravinsky to be the towering musical genius of the 20th century, Béla Bartók, whose music was largely neglected in his own lifetime (a far cry from Stravinsky's international notoriety), occupies an equal place in history. Certainly the six string quartets of Bartók have become some of the most deeply cherished works to come out of the last century.

Much has been said about Bartók and the case he made towards creating music with a nationalistic imprint. Bartók was undoubtedly one of the great musical explorers and delved heavily into the study of folk music of his homeland, Hungary, and its surrounding areas, Turkey, and North Africa.

He is frequently referred to as the father of ethnomusicology. But it is important to point out that Bartók's compositional art was not achieved through a literal transplantation of the folk music that he assiduously collected; Bartók's particular genius comes in his gift of musical sublimation and assimilation. Retaining the flavor and feel of his environment, Bartók was to establish a deeply influential

role model for composers to reflect their surroundings and to be a wholly authentic creator at once. Speaking of his experiences with his friend and fellow composer Zoltán Kodály, Bartók stated: "In our case it was not a question of merely taking unique melodies and then incorporating them into our works. What we had to do was divine the spirit of this unknown music, and to make this spirit the basis of our works.

According to the way I feel, a genuine peasant melody of our land is a musical example of a perfected art. I could consider it as much a masterpiece, for instance, as a Bach fugue or a Mozart sonata."

The second string quartet of Bartók was written between 1915 and 1917, a period which saw the large-scale wartime upheaval of Europe. Kodály was to characterize the three movements of the second quartet as follows: 1. A Quiet Life – 2. Joy – 3. Sorrow.

I might humbly suggest that the second movement captures a frenetic and feverish energy, with percussive ostinatos that suggest something more unsettled than the feeling of joy per se. The flavor of the movement is likely influenced by Arabic folk music Bartók heard while on a trip to Nigeria in 1913. The last movement's falling note pattern evokes a traditional Hungarian lament.

– Nicholas Cords

The Fiction Issue (2012) Gabriel Kahane As a songwriter, I’ve always been preoccupied with exploring the limits of narrative economy in the context of a three- or fourminute song. My favorite lyricists, like my favorite short story writers, have a way of distilling a tale into carefully selected details, images or resonances which may not on the surface provide a linear story, but when taken together, form a richly coherent through-line.

This summer, while I was upstate at Yaddo ostensibly to write this piece, I couldn’t seem to squeeze out a note of music. I had been sharing breakfasts with the august poets Stephen Dunn and Jonathan Aaron, and perhaps inspired by their company, found myself daily writing longhand prose poems which, after I’d returned to Brooklyn, revealed themselves to be sketches for the text of The Fiction Issue.

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on brooklyn Rider I first met Brooklyn Rider in Chicago, where we met working with the Silk Road Ensemble and the Chicago Symphony Orchestra. I was fetching coffee, making sure everyone was sufficiently caffeinated and where they were supposed to be, while they worked with Yo-Yo Ma, Osvaldo Golijov, and the many incredible members of the Silk Road Ensemble. I remember seeing Johnny for the first time, with hair that was like an afro and sky-high, and then hearing from the Chicago Symphony staff what an incredible violinist he was. Eric was always making me smile; Colin was serious and focused; Nick was warm, welcoming, and always smiling. The CSO staff had a huge amount of respect for the group, and it was a thrilling time to be in Chicago. That time is a snapshot of how Brooklyn Rider operates. They weave a web of curiosity, entrepreneurship and opportunity. They constantly seek out new collaborations and experiments, picking up new friends and ideas and rolling them all together.

The Knights is an edgy chamber orchestra that has grown out of Brooklyn Rider, widening its arms to include more of their audacious musical colleagues and friends.

In their own words, “the quartet's name is inspired in part by the cross disciplinary vision of Der Blaue Reiter (The Blue Rider),

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a pre World War I Munich-based artistic collective whose members included Vassily Kandinsky, Franz Marc, Arnold Schoenberg and Alexander Scriabin.” In the spirit of experimentalism and hunger for new ideas, Brooklyn Rider is the go-to ensemble for the world’s most noted composers and musicians, including Steve Reich, Philip Glass and, of course, Bela Fleck. Brooklyn Rider has performed at SXSW (South by Southwest), Carnegie Hall and the Library of Congress, equally commanding in every setting. Their energy is contagious, and a welcome shot in the arm to the classical music world. During their last residency with the Knights at Carolina Performing Arts in January, I brought a few of our KidZNotes kids to hear the group perform and meet them after the concert. Even backstage the group brought the same exuberance, love and joy to the kids, making our youngest girls giggle with the silly sounds a violin can make, and our competitive young boys puff up with the pride that one day they’ll rock their cellos as hard as Eric does. We’re lucky to have Brooklyn Rider back in Carolina – this will be a concert you will never forget.

Katie Wyatt is a violist and Founding Executive Director for KidZNotes. ///

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Musically and narratively speaking, the piece is a continuation of some ideas that I began exploring in my orchestral song cycle Crane Palimpsest, which offered, through settings of Hart Crane’s poem to Brooklyn Bridge and my own responses to it, twin reflections on the ecstatic geography of New York. Like that work, The Fiction Issue is preoccupied with reconciling disparate musical languages: one that is immediate, earthy, grounded in functional harmony, adjacent to pop song if not concurrent with it; and another that is in the tradition of contemporary concert music: harmonically ambiguous or fluid, concerned with the exploration of color and timbre, and so on.

But where Crane found me singing both parts of the binary, in The Fiction Issue, I have had the great privilege of sharing vocal duties with and writing for Shara Worden, one of the finest and most emotionally immediate singers working today. This brings me back to my opening gambit about narrative economy.

I’d initially conjectured that whereas a threeminute song was rather like a short story, a twenty-some-odd-minute work for two voices and ensemble would allow me to explore novelistic horizons. But what I’ve ended up writing seems more to me like twin character studies: modest in scope, but I hope emotionally detailed.

Lastly: it’s a great privilege to be working with and writing for Brooklyn Rider, with whom I’ve shared a musical orbit for the last half-decade without actually having crossed paths professionally until now. I’ve written quite a bit for a handful of string quartets over the last couple of years, and it’s a great pleasure to tailor quartet writing to players as brilliant and idiosyncratic as those of Brooklyn Rider.

- Gabriel Kahane

Chalk and Soot (2012) Colin Jacobsen Please see introductory note, page 33.

Disconnect, Delay, Lean and Release: a ritual dance for the modern day (2012) Shara Worden What does a ritual for spring look like in this day and age? We live in a time when a community of people can exist internationally through the internet. Dancing and

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making music are activities we watch on TV, not something we participate in with our neighbors in a nearby square. Nature has become an abstract concept to the common westerner. We drive cars with the windows rolled up and the air conditioner on full blast.

Our food comes wrapped in plastic and any fruit or vegetable we want is available at any time of the year. Our water comes in bottles from faraway countries or if from the tap, it appears in the faucet from unknown sources. The reality of global warming is still viewed by most Americans as a controversial subject. Nature is something we seem to want to control or engineer.

In celebration of 100 years of Igor Stravinsky's The Rite of Spring, I am reflecting upon our relationship to the earth with an awareness that my way of life is full of philosophical contradiction and contains an inherent dependency upon products and energy supplied to me by large corporations, many of whom care about the bottom line profit above all else, including nature. I don't write songs to facilitate my neighbors dancing and I can never think of a song to sing at a party. I admit that I would like to escape some of the lessons nature would teach me; that I cannot always have what I want when I want it, that there is something greater than I, that all things on earth are born and die, that to live is to experience great beauty and also to suffer.

Disconnect, Delay, Lean and Release is my humble musical meditation upon the subjects of community and modern rituals. The writing of it has felt like a tenuous attempt to further open myself up to the lessons that nature would teach me. I dare say, she will teach me whether I want to learn or not. This is an offering, a small gesture of surrender to her great and undeniable power.

– Shara Worden

Brooklyn Rider Praised for its “stunningly imaginative” performances (Lucid Culture), the adventurous, intrepid string quartet Brooklyn Rider combines a wildly eclectic repertoire with a gripping performance style that continues to attract legions of fans and draw critical acclaim from classical, world and rock critics. Brooklyn Rider’s 2012/13 season begins with a fall tour that presents works

by Stravinsky, Bartók, and Gabriel Kahane as well as world premieres by Colin Jacobsen, Shara Worden, Vijay Iyer and John Zorn, stopping at The University of North Carolina at Chapel Hill, where Brooklyn Rider continues its three-year residency and participates in UNC’s Rite of Spring at 100 series. Brooklyn Rider will also participate in the premiere of a new work by Kahane at Carnegie Hall’s Zankel Hall, as well as WQXR’s Beethoven Remix at the Greene Space.

This season, the quartet begins its ongoing project, “The Brooklyn Rider Almanac,” for which it commissions composers from various genres to write short, art-inspired works for string quartet. In January, Brooklyn Rider will premiere new compositions by Nik Bärtsch, Padma Newsome, Greg Saunier, Ethan Iverson, and Bill Frisell at Dartmouth College. The quartet will participate in a recording project with 14-time Grammy-winner Béla Fleck, appear at Chicago’s Mandel Hall and Atlanta’s Schwartz Center, and embark on a second Asia tour in April 2013.

The quartet has been increasingly active in the recording studio, including the muchpraised Brooklyn Rider Plays Philip Glass on the composer’s Orange Mountain Music label. Violinist Johnny Gandelsman launched In A Circle Records in 2008 with the release of Brooklyn Rider's eclectic debut recording, Passport, followed by Dominant Curve in 2010 and Seven Steps in 2012. A longstanding relationship between Brooklyn Rider and Kayhan Kalhor resulted in the critically acclaimed 2008 recording, Silent City. www.brooklynrider.com facebook.com/BklynRider twitter.com/Brooklyn_Rider

Colin Jacobsen, composer/violinist Colin Jacobsen’s wide-ranging musical activities are part of a generational wave that is taking classical music into a much broader context. As a soloist, he appears with orchestras worldwide. As a touring member of the Silk Road Ensemble since its conception

by Yo-Yo Ma 10 years ago, Mr. Jacobsen has been part of a creative cauldron that has continually pushed him to expand his boundaries.

Through exposure to the incredible sound worlds of musicians like Persian kemanche virtuoso Kayhan Kalhor, vocalist Alim Qasimov and pipa player Wu Man, he has been inspired

to compose and arrange pieces both for the Ensemble and for other groups.

Mr. Jacobsen is a co-founder along with his brother, cellist and conductor Eric Jacobsen, of two ensembles whose dynamism in programming and performance is helping to reimagine the possibilities inherent in the string quartet (Brooklyn Rider) and orchestral (The Knights) mediums. Brooklyn Rider’s album Passport was featured as one of National Public Radio’s top classical picks for 2008 and The Knights have recorded two albums for Sony Classical and toured to Europe with soprano Dawn Upshaw. Jacobsen has performed with the Chamber Music Society of Lincoln Center and at Bargemusic, and is a member of the Metropolitan Museum Artists in Concert. He has collaborated with musicians such as Emanuel Ax, Joshua Bell, Don Byron, Christina Courtin, Kim Kashkashian, Mark O’Connor, Phillip Glass, Steven Isserlis, Christian Tetzlaff, Mitsuko Uchida and Jan Vogler, among others.

Mr. Jacobsen plays a 1696 Joseph Guarneri filius Andreae violin and a 2008 Samuel Zygmuntowicz violin.

Gabriel Kahane, composer/piano/ reed organ/guitar/vocals Gabriel Kahane is not part of a scene.

He writes string quartets and musicals and pop songs, but what unites all of his musical efforts is the desire to communicate honestly and without pretense.

On his sophomore LP Where are the Arms, Gabriel brought together an all-star band including Rob Moose (Bon Iver, Antony and the Johnsons, The National), Casey Foubert (Sufjan Stevens, Richard Swift, Pedro The Lion) and Matt Johnson (Jeff Buckley, Rufus Wainwright). Anthemic pop choruses are followed by intricate brass cadenzas in odd time signatures, and folky refrains are interlaced with tightly wound flute filigrees.

Launched by his 2006 song cycle Craigslistlieder, Kahane’s rapid ascent as a composer of concert works continues to bloom. 2011/12 saw the premiere of an orchestral song cycle with Kahane as soloist alongside the American Composers Orchestra at Carnegie’s Zankel Hall, and the premiere of The Red Book, written for the Kronos Quartet. Little Sleep’s Head Sprouting Hair in the Moonlight,

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a cello sonata-cum-song cycle written for Alisa Weilerstein, was heard in a concert for Lincoln Center’s Chamber Music Society with the composer as pianist and singer.

2012/13 brings to life a full-length musical, February House, for which Kahane wrote music and lyrics. This appears at the Long Wharf Theater in New Haven and New York’s Public Theater, which commissioned the work. Gabriel has also been commissioned by the Signature Theater in Arlington, Va., and by the Williamstown Theater Festival.

John Zorn, composer Drawing upon his experience in a wide variety of music, John Zorn has created an influential body of work that defies academic categories. Born and raised in New York City, he is a central figure of the Downtown Scene, incorporating a huge community of creative musicians into various compositional formats. His work is diverse and remarkably eclectic and draws inspiration from art, literature, film, theater, philosophy, alchemy and mysticism as well as music. He founded the Tzadik label in 1995, runs the East Village performance space The Stone and has edited/published five volumes of musicians’ writings under the title ARCANA. He has received the Cultural Achievement Award from the National Foundation for Jewish Culture and the William Schuman Prize for composition from Columbia University, was inducted into the Long Island Hall of Fame by Lou Reed in 2010 and is a MacArthur Fellow. In 2012, he was given the honorary doctorate Magister Artium Gaundensis.

Dance Heginbotham Founded in 2011, Dance Heginbotham is a performance group devoted to the presentation of dance and theatrical work, created

by Brooklyn-based choreographer and performer John Heginbotham. The work of the company features highly structured, technically rigorous and theatrical choreography, frequently set to the music of contemporary composers. The company had its world premiere in January of 2012 on the Millennium Stage at The John F. Kennedy Center for the Performing Arts and recently had its New York premiere at the Baryshnikov Arts Center, followed by a week-long run at Jacob’s Pillow Dance Festival. Dance Heginbotham has received support from several organizations, including the Jerome Robbins Founda-

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tion, Mertz Gilmore Foundation, Foundation for Contemporary Arts, and the Brooklyn Arts Council. www.danceheginbotham.com

John Heginbotham, choreography Originally from Anchorage, Alaska, John graduated from The Juilliard School in 1993.

After graduating, he danced in the companies of Susan Marshall, John Jasperse, Rebecca Stenn, Janis Brenner, Allison Chase, David Neumann, Ben Munisteri, Stanley Love, Vanessa Walters, Pilobolus Dance Theater and Pam Tanowitz before joining the Mark Morris Dance Group (MMDG) in 1998. During his 14-year career with MMDG, he performed across the US and internationally with artists including Mikhail Baryshnikov, Yo-Yo Ma, Emanuel Ax, The Bad Plus and Zakir Hussain, and with opera companies including The Metropolitan Opera, New York City Opera and the English National Opera. As a teacher, John offers dance master classes in the US and abroad and has taught at institutions including Princeton University, the University of California-Berkeley, George Mason University, the University of Illinois at Urbana-Champaign, the University of Washington and The Laban Centre in London. He is currently on the faculty at the Mark Morris Dance Center and is a founding teacher of Dance for PD®, an ongoing collaboration between the Mark Morris Dance Group and the Brooklyn Parkinson Group. In 2011, John founded the performance group Dance Heginbotham.

Shara Worden, composer/ reed organ/guitar/vocals Shara Worden received a BA in opera from the University of North Texas and studied composition with Padma Newsome. Under

the moniker My Brightest Diamond, she has released three albums on Asthmatic Kitty Records. The most recent, All Things Will Unwind, is a chamber pop album inspired by Detroit. Ms. Worden has composed music for plays by Adam Rapp and Andrew Ondrejcak and music for The Brooklyn Youth Chorus, yMusic and violist Nadia Sirota. She has collaborated with such artists as David Lang, The Decemberists, Sufjan Stevens, David Byrne, Bryce Dessner (of The National), Sarah Kirkland Snider and Matthew Barney, and has performed at Carnegie Hall, The Sydney Opera House, Lincoln Center’s Allen Room and with the Indianapolis Symphony Orchestra.

Worden’s artistry seems to transcend music. On stage she evokes as much Martha Graham as Edith Piaf, and can be found collaborating with visual artists (Matthew Ritchie) and filmmakers (Matthew Barney, Murat Eyuboglu) alike. Where worlds are colliding, there is Shara, a zeitgeist for a growing movement of experimental musicians eager to bend the borders of artistry and genre. Worden’s latest offering, All Things Will Unwind, draws inspiration from urban Detroit, her new home. More folk-inspired than much of her recent work, the new album addresses the juxtaposition of life and death, class and race, pantries and politics, as heard through the mesmerizing lullaby of a new mother.

Exclusive Management for brooklyn rider: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 www.opus3artists.com ///

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TUE, NOV 27 at 7:30PM

Chucho Valdés Quintet global views

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“Simply jaw-dropping” – National Post

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///////////////////////////////////////////////////////////////////////// Program Notes LIVE with David Garcia and Charanga Carolina 6pm, Nov. 27 | Gerrard Hall

NOV 27

tue, 7:30pm

Chucho valdÉs quintet Program to be announced from the stage.

masters including Herbie Hancock, Dizzy Gillespie, Wynton Marsalis and Chick Corea.

Chucho Valdés, piano Yaroldy Abreu Robles, congas Dreiser Durruthy Bambole, bata Rodney Barreto, drums Gaston Joya, bass

Born in Quivicán, Cuba, in 1941, he is one of Cuba’s most famous musicians.

His illustrious career has garnered him six Grammy wins and 16 Grammy nominations over the past three decades.

Chucho Valdés, piano Hailed as "the dean of Latin jazz" and "one of the world’s great virtuosic pianists" by The New York Times, multi-Grammy Award-winning Cuban pianist, bandleader, composer and arranger Chucho Valdés has made more than 80 recordings, appearing with countless jazz

In 1972, he formed the influential Latin jazz band Irakere, with an explosive mix of jazz, classical music, traditional Cuban rhythms, funk and rock featuring star players Paquito d’Rivera (saxophone) and Arturo Sandoval (trumpet).

Jazz Bata (2007), Fantasia Cubana: Variations on Classical Themes (2002) and Live at the Village Vanguard (2000). His 2010 Grammy Award for Juntos para Siempre saw him collaborate with his father, Bebo Valdés, a major player on the Cuban jazz scene in his own right.

Chucho’s reputation as one of the greatest living Cuban jazz pianists has earned him appearances on the great stages in music, including Carnegie Hall, The Kennedy Center and The Hollywood Bowl. ///

Chucho’s recordings include Lucumi and Solo Piano (2011), Chucho’s Steps (2010),

New hope is 165 acres of rolling forest in a unique setting. Located off HWY 86 close to Downtown Chapel Hill, Durham and Hillsborough. 14 buildings available to rent for any size event.

Year Round Availability Retreats Family Reunions Holiday/Birthday Parties Business Conferences Church Events Weddings

We also offer summer camps for K-9th graders.

A Place Apart For All Ages 919-942-4716 www.newhopeccc.org

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on chucho valdÉs There are many examples across cultures and history of important musical families. The Shankars, Bachs, Marleys, and Valdés’ are only a few examples whose musical lineages span at least two generations and whose musical impact stretch beyond one genre or style.

Chucho’s father Bebo helped revolutionize Cuban big band music starting in the early 1940s, contributing significantly to the emergence of big band mambo and Latin jazz. Like his father, Chucho studied Western classical music and piano while soaking in the Cuban popular music and jazz that filled his home and culture. Born Jesús Valdés in Quivicán, a city west of Havana in the recently created province known as Mayabeque, Chucho made his first important contribution to Cuban music by helping establish the band at the Havana Musical Theater. This musical organization would be the first of several Chucho would lead into new and innovative areas of Cuban music history.

My first real introduction to Chucho Valdés was in the late 1990s when I interviewed Juan Pablo Torres, an important Cuban musician in his own right. Juan Pablo and Chucho were members of the short-lived Orquesta Cubana de Música Moderna, whose recordings from the late 1960s had just been re-released on CD. These recordings clearly indicate the kind of musical experimentation that Chucho would continue to pursue as founder and leader of the great Cuban musical institution Irakere, which formed in 1973. Like Art Blakey’s Jazz Messengers (no doubt the inspiration for the name of Chucho’s current project Chucho Valdés and

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the Afro-Cuban Messengers), some of the best modern Cuban musicians cut their teeth with Irakere. They include Paquito D’Rivera, Arturo Sandoval, and Carlos Emilio Morales. Under Chucho’s musical vision and leadership, Irakere revolutionized Cuban popular dance music by synthesizing musical elements from Afro-Cuban folkloric drumming and popular dance music to jazz, rock, funk and electronic music.

Listening to Irakere’s recordings, especially from the 1970s, such as “Valle De Picadura” and “Bacalao con pan,” one hears heavy influences of jazz fusion from Miles Davis to the Yellow Jackets, but with a solid foot always in their Afro-Cuban musical roots. Organ, keyboards, electric guitar with wah-wah effect, and drum set meshes with congas, batá drums, montunos, and soneos. Rock back beats alternate with the cinquillo beat of the 19th-century Cuban dance music par excellence danzón. And the core of his musical endeavors from the 1960s and 1970s persists in the music of Chucho Valdés and the Afro-Cuban Messengers. Drum set, congas, and batá interlock with double bass, piano, trumpet and sax, seamlessly moving between latin jazz, cool jazz, rumba, Dixieland, toques, and more. It’s the kind of fluid musical brilliance unforced in its eclecticism that is the mark of master musicians led by one of the most visionary and artistically successful Cuban musicians of the 20th and 21st centuries, Chucho Valdés.

David Garcia is an associate professor in the UNC Music Department and Director of Charanga Carolina. ///

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SAT, DEC 1 at 2PM & 8PM sun, dec 2 at 2PM

The Nutcracker Carolina Ballet ESCAPE

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“…one of the best story ballets of the past quarter century” – The Washington Post

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dec 1/2

sat, 2pm & 8pm/sun, 2pm the nutcracker Act I – Christmas Eve It is Christmas Eve in the toy shop of Herr Drosselmeyer, a mysterious man and marvelous inventor of toys; he is also the godfather of Clara Stahlbaum. Drosselmeyer is putting the finishing touches on the magical toys he is taking as presents to the Stahlbaums’ annual Christmas party.

Meanwhile at the Stahlbaums’ house the final preparations for their party are taking place in the parlor as their children, Clara and Fritz, peek through the key hole with great anticipation to see what their parents are up to. Soon the guests arrive with their children and there is much rejoicing at the sight of the lighted Christmas tree. The adults greet one another amid excited speculation among the children about what is in the many packages. Dr. Stahlbaum divides the children for games and dances; some of the parents join in and soon the grandparents arrive at the party. Refreshments are served and, most important of all, presents are given out.

Suddenly the room grows dark, taking on an ominous feeling. The children become momentarily confused and scared. Herr Drosselmeyer mysteriously appears and introduces his ward and nephew to Clara, and she is instantly smitten by him. Drosselmeyer proceeds to entertain the assembled guests with the most amazing magical illusions. At the end of his show he presents Clara with a beautiful Nutcracker that he made especially for her. In a fit of jealousy, Fritz snatches the Nutcracker out of Clara’s hands, breaking it in the process. Clara is heartbroken, but Frau Stahlbaum and Drosselmeyer console her. The nephew brings Clara a bed for the Nutcracker. She tucks the Nutcracker in and puts the bed under the tree.

Dr. Stahlbaum and his wife lead all the guests in one final dance, Clara dancing with the nephew. The guests all depart and the family goes off to bed. As the room darkens, Drosselmeyer returns and fixes the Nutcracker with a magic wand. Clara enters the room at midnight in her nightgown. She goes directly to the Nutcracker and cradles him in her arms.

There is a rustle, the Christmas tree lights flash off and on and giant mice take over the room. Frightened, Clara dashes to the sofa and huddles there. Suddenly all the mice are dancing around Clara. Everything seems to

change before her eyes as the Christmas tree begins to grow and life-size toy soldiers come out of the hallway to fight with the mice. The Nutcracker, who has also grown to life-size, rises from his bed to lead the soldiers in battle and seems to be in command until the Rat King arrives to join the mice and fight the Nutcracker one-on-one. The Rat King gains the upper hand, and just as it appears that he is about to subdue the Nutcracker, Clara jumps off the bed and throws her slipper at him. He becomes momentarily distracted, turns and rushes at her at which point the Nutcracker has found the opening he needs to stab the Rat King with his sword and win the battle.

Clara falls fast asleep on the Nutcracker’s bed, which glides out of the room into the snowy evening. The Nutcracker turns into a handsome young prince as the Snowflakes dance and are tossed about by the Northwind.

Act II – The Land of Sweets The curtain rises on twelve Chocolate Truffles. The Sugar Plum Fairy, who rules over this Kingdom of Sweets, makes a regal entrance and dances a charming variation to the tinkling celesta. The Truffles enclose her in a semicircle of love. Then leading the Truffles off, the Sugar Plum Fairy welcomes the full candy box: Chocolate and Coffee and Tea sweets, Candy Canes, Ribbon Candy and Gingerbread Cookies, and a lovely candy Butterfly. The young Prince and Clara enter, transported on a cloud.

The Prince escorts Clara to the shore and introduces her to the Sugar Plum Fairy. He relates the story of the battle with the mice, and she congratulates him on the victory and escorts Clara to a throne. Clara is given numerous sweets to eat as she watches the entertainment. There follows a series of dances by characters of the candy kingdom, culminating in the grandest dance of all – a pas de deux with the Sugar Plum Fairy and her cavalier.

Just as the festivities in the Land of the Sweets have reached their peak, Herr Drosselmeyer again magically appears, takes Clara in his arms, and spins her round and round and round until we find her asleep on the sofa, with her arms wrapped around her treasured Nutcracker.

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A Note on the “New” Production Carolina Ballet’s “new” production of Nutcracker, which had its premiere at Memorial Hall in December 2011, features a cast of more than 100 dancers and children accompanied by a live orchestra of classical musicians, stunning costumes and lavish redesigned scenery. New magic for the Party Scene (Act I) was designed by illusionist Rick Thomas and made possible by WRAL-TV. Young Clara’s godfather, Herr Drosselmeyer, makes toys come to life, people shrink and then reappear out of thin air, and characters levitate high above the stage. Watch as a Christmas tree grows to enormous heights to begin Clara’s journey to the Land of the Sweets, a truly magical place where it snows indoors, candy canes dance and boats fly. Let the holiday magic begin as Christmas unfolds through the eyes of a child.

Carolina Ballet Carolina Ballet is one of America’s premier arts organizations, celebrating its 15th anniversary. Launched as the professional dance company of the Triangle region in 1998 under the direction of Artistic Director/ CEO Robert Weiss, the company has since garnered critical praise from the national and international media, staged 94 worldpremiere ballets, and toured internationally in China and Hungary. Weiss, former artistic director of Pennsylvania Ballet and principal dancer at New York City Ballet under the great George Balanchine, presents programs of traditional ballets by legendary masters and new works by contemporary choreographers.

Highlights of the second half of Carolina Ballet’s 2012/13 season include An Evening of Lynne Taylor-Corbett (February 7-24); The Rite of Spring choreographed by Christopher Stowell, artistic director of Oregon Ballet Theatre (March 7-24); Jerome Robbins’ wonderful Fancy Free with Lynne TaylorCorbett’s Carolina Jamboree accompanied by Chapel Hill’s Red Clay Ramblers (April 18-21); and a brand-new production of Giselle with the original choreography by Jules Perrot and Jean Coralli and additional choreography by Robert Weiss (May 16-19). ///

////////////////////////////////////////////////////////////// /// tiffany dysart gay

ON the nutcracker I was in 8th grade, just a young ballerina, and I couldn’t wait for my debut in Carolina Ballet’s The Nutcracker. I couldn’t believe I was performing alongside these professional dancers – in my young dancer world, it was a magnificent feat.

I auditioned and was cast as a party girl and a gingerbread cookie. Going into the studio for rehearsals with the professional ballerinas of Carolina Ballet was exciting and fun. I instantly bonded with the dancer who played my father in the opening scene; we had a blast getting to know one another, laughing and dancing together. I remember the rehearsals, reviewing counts with artistic director Robert Weiss. I remember costume fittings, and the anticipation backstage before the first performance. I remember the adrenaline rush when I ran into the bright stage lights as a gingerbread cookie, and getting my photo taken with the sugar plum fairy after the show.

It was all quite…magical, especially in the eyes of a young child.

Years later, I have found that this production means a great deal to our community and touches each of us in some way. Bringing people together, young and old, providing an opportunity for families and friends to join in celebrating the joy and wonder of the season, The Nutcracker is certainly a holiday tradition for many. I hearken back to these memories from my childhood each time I hear the music or see the production.

And while the memories of performing in The Nutcracker are incredibly warm, I have been afforded incredible opportunities in genres beyond the realm of classical ballet that have allowed me to grow and develop as an artist. The movement I am performing and creating now is so different from what I performed in The Nutcracker, yet that experience was a formative one in my journey toward becoming the artist I am today. It was the chance not only to dance and act, but also to learn and grow, gaining an understanding of professionalism, confidence and physical projection through movement.

I am thankful for the experience with The Nutcracker, for all that it taught me and for the heartwarming memories it has given me. May you, too, create your own memories this holiday season at Memorial Hall.

Tiffany Dysart Gay (’11) is Artistic Assistant at Carolina Performing Arts and a member of Defero Dance Collective. As an undergraduate at Carolina, she was a leader of the Carolina Dance Initiative. ///

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“…driving force behind this area’s jazz music scene” – Durham Herald Sun

FRI, DEC 7 at 8PM

Jazz for the Holidays NC Jazz Repertory Orchestra

with James Ketch, music director and special guest John Pizzarelli, guitar/vocals ESCAPE

John Pizzarelli

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dec 7

fri, 8pm

North Carolina Jazz Repertory Orchestra Program to be announced from the stage.

James Ketch, music director/trumpet Jeff Bair, saxophone David Reid, saxophone Gregg Gelb, saxophone Aaron Hill, saxophone William Fritz, saxophone Lucian Cobb, trombone Caren Enloe, trombone George Broussard, trombone Michael Kris, trombone Jerry Bowers, trumpet Benjy Springs, trumpet Leroy Barley, trumpet Ed Paolantonio, piano Baron Tymas, guitar Jason Foureman, bass Steve Coffman, drums

////////////////////////////////////////////////////// North Carolina Jazz Repertory Orchestra The North Carolina Jazz Repertory Orchestra (NCJRO), the state’s most celebrated jazz orchestra, has been delighting North Carolina audiences since its inception in 1993.

NCJRO maintains a large library of repertory jazz featuring music from the Duke Ellington, Count Basie, Jimmie Lunceford, Woody Herman, Benny Goodman and Stan Kenton orchestras. The Orchestra also continues to celebrate the ongoing legacy of big band music by regularly performing music by Charles Mingus, Thelonious Monk, Thad Jones, Bob Mintzer and Tom Harrell, as well as staff writers William Fritz and Gregg Gelb.

In addition to an active concert schedule, NCJRO maintains an active presence in jazz education, providing clinics and educational programs across the state. The Orchestra introduces children to jazz and big band music by presenting special programs in schools.

Founded in 1993 by James Ketch and Gregg Gelb, NCJRO has established a name for itself as one of the great jazz repertory orchestras now playing. Music director and trumpeter James Ketch is a professor of music and the director of jazz

studies at The University of North Carolina at Chapel Hill. The 18-piece orchestra features the finest professional jazz musicians in North Carolina. Individually, the NCJRO musicians have championed jazz all over the world and in the recording studio, clinic and classroom. Many of the musicians are educators serving institutions of higher learning.

NCJRO has recorded three CDs: Holiday Blizzard (1997) and Duke Ellington – A Centennial Collection and Benny Goodman – The Swing Collection (1998).

NCJRO is sustained by ticket sales, individual donor-patrons, and the North Carolina Jazz Foundation, which secures corporate and foundation support.

James Ketch, music director/trumpet James Ketch studied music at Indiana State University (BS, 1974) and at the University of Illinois at Urbana-Champaign (MS, 1976). At UNC-Chapel Hill, he serves as trumpet instructor and director of jazz studies. He is a Summit Record recording artist (Next Set, 2009; A Distant View, 2012), associate director of the Savannah Music Festival’s Swing Central Jazz Festival, artist-clinician for the Conn-Selmer Corporation, artist-faculty member for the Jamey Aebersold Summer Jazz Workshops, director of the Carolina Jazz Festival, and host of the North Carolina Regional Essentially Ellington High School Jazz Festival in conjunction with Jazz at Lincoln Center.

Professor Ketch has served as chair of UNCChapel Hill’s Department of Music (20012004) and has been the recipient of three distinguished UNC teaching awards (Tanner, Bowman and Gordon Gray, and Chapman Family Teaching Fellowship). He serves as music director of the North Carolina Jazz Repertory Orchestra, president of the Jazz Foundation of North Carolina, Inc., and is on the board of directors of the newly formed Durham Jazz Workshop. He is currently at work on two book projects – Jazz Trumpet Essentials: Straightforward Information to Develop Improvisational Skills and The Sound of Jazz: Exploring Individual Creativity and Group Communication with the Marcus Roberts Trio; Volume One – The Blues.

John Pizzarelli, guitar/vocals World-renowned jazz guitarist and singer John Pizzarelli is one of the prime interpreters of the Great American Songbook and beyond. He devoted his RCA albums Dear Mr. Cole and P.S. Mr. Cole to music made famous by his hero, Nat “King” Cole. Pizzarelli’s extensive recordings include After Hours, Our Love is Here to Stay, Let’s Share Christmas, John Pizzarelli Meets The Beatles, Kisses In The Rain, Let There Be Love, The Rare Delight of You, Bossa Nova, Dear Mr. Sinatra, the Grammy-nominated With A Song In My Heart, Rockin’ In Rhythm, and his latest album, Double Exposure, with tunes by some of the great pop songwriters of his generation.

John has recorded with pop artists including James Taylor, Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones and Dave Von Ronk, and with jazz artists including his father Bucky Pizzarelli, Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco and Harry Allen. He joined Donna Summer, Jon Secada and Roberta Flack on the Grammy-winning Songs From The Neighborhood: The Music of Mr. Rogers.

A veteran radio personality, Pizzarelli has also performed on national television shows such as The Tonight Show with Jay Leno, The Late Show with David Letterman, Live With Regis & Kelly, The Tony Danza Show, The CBS Early Show, Fox News Channel, the Jerry Lewis Labor Day Telethon and the Macy’s Thanksgiving Day Parade.

He led a 40-member orchestra at Radio City Music Hall in Sinatra: His Voice, His World, His Way. His instructional DVD Exploring Jazz Guitar – filled with demonstrations, lessons and anecdotes – is available from Hal Leonard. Pizzarelli received the 2009 Ella Fitzgerald Award from the Montreal International Jazz Festival, joining a select group of past winners including Aretha Franklin, Tony Bennett and Harry Connick, Jr. ///

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artistry sarah p. duke gardens

in nature Elegant Doris Duke Center for receptions, retreats & meetings Stunning outdoor locations for large or small gatherings Serene Memorial Garden Gift shop & cafe Lectures, classes & programs for all Membership program with wide-ranging benefits

///////////////////////////////////////////////////////////// /// DICK BADDOUR

on nc jazz repertory orchestra The holiday season means a lot of things to many different people. It means family gatherings, great food, road trips, , old traditions and the promise of new beginnings in the coming year. And all of these are usually accompanied by a common thread: music. In the background at home or at the mall, on the car radio or at a concert, holiday classics usher in the season and remind us that good tidings and warm feelings are upon us.

Doris Duke Symposium Saturday, November 17

420 Anderson Street Duke University Durham 919-684-3698 gardens.duke.edu

The season starts for me with the annual holiday performance of Jim Ketch and the North Carolina Jazz Repertory Orchestra. This year is special as the ensemble celebrates their 20th anniversary, and they’re joined by special guest world-renowned jazz guitarist and singer John Pizzarelli.

There is no holiday swing like theirs and I can think of no better way to kick off the season.

Jim’s inviting presence, his charm and his wit make a great companion to the seasonal favorites and classics performed this evening. His carefully selected pieces will entertain us and allow these accomplished musicians to demonstrate their great talent and love of jazz.

There will be many messages coming from the stage tonight, but the clearest of all is that these terrific musicians love what they do.

While I do not claim to be a jazz expert, I know that tonight’s program will be a slam dunk. These seasonal and classic selections are played by home-town musicians who have dedicated their lives to first-class performances in service to the citizens of North Carolina.

You don’t need to know the intricacies of a perfectly executed play to appreciate a gamewinning basket or touchdown. And you can still join in the thunderous applause when your team wins. Likewise, tonight you’ll tap your toe whether or not you can tell how many beats are in the measure.

You’ll hear works from by Duke Ellington, Count Basie and Benny Goodman, as well as more contemporary compositions and holiday classics. It’s sure to capture the emotions that accompany this time of year: wistfulness, joy and hope. The evening promises to deliver a wonderful experience; creative and festive, it is sure to remain with you as your soundtrack to the season.

The holidays are a time of traditions, and I welcome you to make the North Carolina Jazz Repertory Orchestra and Carolina Performing Arts a part of your season celebration. I’m glad you’re here and wish you all the happiest of holidays and all the best in the New Year.

Sweet Life Photo

Dick Baddour served as UNC's Director of Athletics from 1997-2012. ///

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VIEW

by jordan graves and josh clinard

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Emil Kang gave a captivating presentation to some of New York’s most important arts journalists and cultural influencers.

This summer we had an amazing opportunity through Carolina Performing Arts to travel to New York to help promote The Rite of Spring at 100 project. The 2012-13 performing arts season is going to be one that is unprecedented, and we have had the joy of watching it come to life. Carolina Performing Arts has commissioned 12 new works and there will be 10 world premieres and two U.S. premieres throughout the season, performed by some of today’s most renowned and daring artists.

In May, we traveled to New York City with members of the Carolina Performing Arts staff as part of our internship with Ruder Finn, a public relations firm. During our trip, we worked to help spread the word of The Rite of Spring at 100 to some of the most respected arts writers in New York. The experience of attending a public relations event of this scale and helping it come to life was for us invaluable.

Carolina Performing Arts gave us the opportunity to step outside of Carroll Hall and put our theoretical knowledge and education to work on a real life project. Emil Kang gave a captivating presentation to some of New York’s most important arts journalists and cultural influencers. Emil truly expressed the essence that is Carolina to those who had yet to experience it firsthand. While we may be biased as students and fans of UNC,

we also sensed that he made the audience feel the magic, as Emil would say, that we experience through the arts at Carolina.

That idea rang true later that night when we attended Juilliard’s senior dance recital. As we left the event, we recounted the talented students, but couldn’t help to compare our experience to similar performances at UNC. In Chapel Hill, we have the opportunity to attend high-caliber performances in our own backyard, not to mention our surprise that Carolina Performing Arts seeks to make these performances more accessible to the student body. Whether we wear shorts and T-shirts or suits and dresses, we are welcomed to every performance for the same $10 student ticket price.

It all goes to show what Carolina Performing Arts has to offer. Being in New York solidified our appreciation for what we have here. We are thrilled to be a part of this unprecedented season. Years from now, we will return to Chapel Hill as alumni and see what Carolina Performing Arts continues to offer this campus and community, and we have no doubt that this will always be a place where the performing arts thrive.

Jordan Graves (’13) and Josh Clinard (’13) are students in the School of Journalism and Mass Communication, concentrating in Public Relations. ///

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/ / / 2 0 1 2 / 13 Important/ / / / / / / INFOrmation Please Make Sure We Have Your EMail Address on File! Carolina Performing Arts (CPA) regularly sends updated performance related information via email a few days before the event.

Please be sure that the Box Office has your correct email address on file. You can update by calling the Box Office at 919-843-3333 or sending an email to cpa_emails@unc.edu.

Ticket Exchanges Subscribers may exchange tickets free-of-charge up to 72 hours before the performance. Non-subscribers may exchange single tickets for a $10 fee.

We ask that you notify the Box Office of your intent to make an exchange at least 72 hours prior to the performance. You can call or email during normal business hours at 919-843-3333 or CPAtixquestions@ unc.edu.

The value of the ticket(s) may be applied to the purchase of another performance or will be held as a CPA credit until the end of the 12/13 season. Credit must be redeemed by April 27, 2013.

For information about exchanging tickets, please call the Box Office at at 919-843-3333 or email CPAtixquestions@unc.edu.

Ticket Donations/Unused Tickets Unused tickets may be donated to CPA as a taxdeductible contribution until the published start time of the performance. Unused tickets that are returned after the performance are not eligible for a CPA credit or taxdeductible contribution.

Refunds Due to the nature of performing arts, programs and artists are subject to change. If an artist cancels an appearance, CPA will make every effort to substitute that performance with a comparable artist. Refunds will be offered only if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable.

CPA will not cancel performances or refund tickets because of inclement weather unless the University of North Carolina at Chapel Hill’s campus closes.

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Ticket Mailing vs. Ticket Pick Up Your subscription tickets will be mailed during the week of June 4–8, 2012, before tickets to individual performances go on sale to the general public. Any ticket orders received fewer than 10 days prior to the performance will be held at Will Call, which opens 90 minutes prior to the published performance start time.

Lost or Misplaced Tickets Call the Memorial Hall Box Office at 919-843-3333 to have duplicate tickets waiting for you at Will Call.

Duplicate tickets cannot be mailed.

Faculty & Staff tickets Several discount options are available to UNC-Chapel Hill faculty (active and retired) and staff. Save up to 25% off the general public ticket prices when purchasing one of our Series Subscriptions or a “Create Your Own” package. Faculty and staff may order through the website or direct from the Memorial Hall Box Office.

Please note: A valid UNC OneCard must be presented at the time of purchase to receive these discounts.

UNC Student Tickets are just $10 UNC-Chapel Hill student tickets to Carolina Performing Arts performances are just $10. A portion of each student’s fees supports this ticket price, so it is offered exclusively to Carolina students. A valid UNC OneCard must be presented to receive the student ticket price. Don’t miss this once-in-lifetime opportunity.

Group Tickets Groups of 10 people or more receive discounts ranging from 10% to 25% off the general public ticket price.

All group tickets must be purchased together and in advance by calling the box office at 919-843-3333 or by sending your request to CPAGroupSales@unc.edu.

Group ticketing requests are subject to availability.

////// Accessibility Wheelchair-accessible seating is available. Please advise a Box Office sales associate of your needs when you purchase your tickets. Memorial Hall is equipped with infrared listening systems provided free of charge. We have a limited supply of headsets that should be reserved in advance through the Box Office.

Late Seating Once a performance has begun, late seating opportunities are limited and may occur only during specific times.

Be sure to plan your arrival time to allow for traffic/parking.

Ticketed seating locations are not guaranteed once the performance begins. Refunds will not be given to latecomers.

Electronic Devices Use of mobile phones, pagers, alarms and electronics of any kind is prohibited during performances. Even when silenced, these devices emit distracting light. If you are concerned about missing an emergency call, you may leave your name, device and seat location with an usher and he or she will alert you if a call comes through. Photography, videography and recording devices are prohibited during performances.

Violation will result in ejection without reentry.

Reminders Children old enough to enjoy performances are welcome.

A ticket must be purchased for any children attending a performance and the child must be seated where a parent or guardian can supervise them. Babes in arms are not permitted. So that all patrons may enjoy the performance, please hold discussions and texting until after the performance ends; refrain from rustling wrapping paper during a performance; and be modest with your use of fragrances when attending performances.

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spotlight Michael and amy tiemann

KPO Photo

Sitting inside the control room of Manifold Recording, it is easy to understand why this state-of-the-art music studio in Pittsboro is quickly becoming a destination for world-class artists and music lovers of all kinds. From the height of the ceiling to the cherry wood walls, every detail of the space unites form and function to create a recording environment that is as visually stunning as it is acoustically excellent. Set in the bucolic countryside just fifteen miles south of Chapel Hill, the studio is a musical Eden.

For Michael and Amy Tiemann, the founders and visionaries behind Manifold, it is difficult to imagine the studio being located anywhere else. “The creative community in the Triangle really inspired us to dream big,” explains Amy, who in addition to her roles as co-owner and producer at Manifold is an award-winning author and educator. In a region brimming with artists and entrepreneurs, the Tiemanns envisioned the studio as an incubator – a place for new collaborations, new ideas and new music.

The couple fell in love with the area in 2000 after an invitation from the Triangle-based software company Red Hat to spend six months in Raleigh. Red Hat had just bought Cygnus Solutions, a company Michael founded that pioneered commercial support for free and open source software. Michael and Amy were living in California at the time and had no intention of moving, but as Amy

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recalls, “about six weeks after we came here, I told Michael I had found the house we were going to buy.” Chapel Hill immediately felt like home. “First we discovered all the wonderful people in North Carolina,” Michael recalls.

“Then we discovered UNC and Carolina Performing Arts.” Michael remembers attending performances with his mother, “a confirmed Manhattanite” and a longtime

where they will perform for two nights before heading to the Big Apple.

The Mariinsky’s program is part of CPA’s year-long celebration of The Rite of Spring at 100, which the Tiemanns have helped make possible through their generous support.

In addition to funding Rite 100 performances, including 11 new works commissioned by CPA,

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“Chapel Hill is really a place where we are fully engaged in the artistic conversation at the world level.” ////////////////////////////////////////////////////////////////////////////////// arts devotee, shortly after Memorial Hall reopened in 2005. “It was absolutely amazing to be able to take my mom to performances that were some of the best either of us had ever seen anywhere.”

While on a recent trip to New York City, Michael, who joined CPA’s National Advisory Board this fall, was reminded of the high quality programming his family enjoys in Chapel Hill. Walking past Carnegie Hall, he spotted a poster promoting an upcoming program with Valery Gergiev and the Mariinsky Orchestra, one of the great orchestras of the world. Michael smiled knowing he already had tickets to see the orchestra at Memorial Hall,

their gift supports educational opportunities with visiting artists for UNC students and faculty and the community at large.

For Michael and Amy, CPA’s focus on artistcommunity dialogue is an important reason why they support the program. “The fact that we do commissions, that we create new things, that we invite artists here to lecture, to take a residence, to participate and to create…It has made [CPA and Chapel Hill] more than just a tour stop,” Michael says. “Chapel Hill is really a place where we are fully engaged in the artistic conversation at the world level.” ///

Carolina performing arts society ////////////////////////////////////////////////////////////////////////////////////////////////

National Advisory Board Comprised of UNC-Chapel Hill alumni and friends, the National Advisory Board champions and supports the vision of Carolina as the nation’s leading university arts presenter. It is with profound gratitude that we thank these outstanding volunteers.

Thomas F. Kearns, Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Richard A. Baddour, Chapel Hill W. Hodding Carter III, Chapel Hill G. Munroe Cobey, Chapel Hill Peter D. Cummings, Palm Beach Gardens, FL James Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill Joan C. Huntley, Chapel Hill Sally C. Johnson, Raleigh Emil Kang, Chapel Hill, ex-officio Betty P. Kenan, Chapel Hill Mary Friday Leadbetter, Singapore Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josie Ward Patton, Chapel Hill Earl N. Phillips, Jr., Chapel Hill Wyndham Robertson, Chapel Hill Sharon Rothwell, Ann Arbor, MI Michael Shindler, Orlando, FL Chancellor Holden Thorp, Chapel Hill, ex-officio Michael Tiemann, Chapel Hill

Night after night, Memorial Hall is alive with the best music, dance and theater. Night after night, our donors make it all possible.

You can help maintain the artistic excellence you enjoy by becoming a member of the Carolina Performing Arts Society. Benefits include advance ticket purchase and free reserved parking for members beginning at the Silver level.

Undergraduate and Graduate Student Member: $35

Platinum Tier: $5,000-$9,999

• All benefits and privileges afforded to Sponsoring Members

• Opportunity to name a seat in Memorial Hall • Access to the Pamela Heavner Gallery for your own private reception

Contribution fully deductible

Sponsoring Member: $125-$999 • Priority purchasing period for subscriptions and individual tickets • Invitation to an annual Carolina Performing Arts Society event • Member recognition in our program book • Subscription to “Behind the Curtain” newsletter Contribution fully deductible

Silver Tier: $1,000-$2,499 All benefits listed for Sponsoring Members, plus: • First access to subscriptions and individual tickets • Complimentary parking pass for the Morehead Planetarium lot • Invitation to the exclusive season preview reception Non-deductible amount of contribution: $144

Gold Tier: $2,500-$4,999 All benefits listed for Silver Tier, plus: • Complimentary reserved parking for Bynum-Steele lots • Complimentary intermission receptions in the Pamela Heavner Gallery Non-deductible amount of contribution: $784

All benefits listed for Gold Tier, plus:

Non-deductible amount of contribution: $784

The David Lowry Swain Society: $10,000-$14,999 All benefits listed for Platinum Tier, plus: • Complimentary valet parking with exclusive drop-off and pick-up area • Concierge ticket service with access to reserved seats for popular performances Non-deductible amount of contribution: $960

Performance Benefactor: $15,000 and above Sponsor a performance and enjoy a memorable night for you and your family and friends. All benefits listed for The David Lowry Swain Society, plus: • Eight complimentary tickets to your selected performance with valet parking and reception privileges for your guests • Opportunity to host a private pre-performance dinner for your guests in the Pamela Heavner Gallery • Acknowledgment from the stage and in the performance program the night of the event • Opportunity to meet the artist following the performance (depending on artist availability) Non-deductible amount of contribution: $1,664

Gifts to Carolina Performing Arts entitle you to all benefits afforded donors to any University annual giving program.

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CAROLINA PERFORMING ARTS ENDOWMENT Do you want to make a lasting impact? The Carolina Performing Arts Endowment provides critical funding each season, helping us bridge the difference between our ticket revenue and the expense of bringing world-class performers to Chapel Hill. Ticket sales alone provide only 45 percent of the total cost of presenting artists on our stages.

Our endowment makes what we do possible. Help ensure high-quality programming, discounted student tickets and commissions for new works through a donation or a planned gift today. Future audiences will thank you.

/////////////////////////////////////////////////////////////////////////// Leadership Gifts and Pledges ($500,000 and above) Munroe and Becky Cobey* Ellison Family Foundation Mr. and Mrs. James Heavner* Luther and Cheray Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust Anonymous William and Sara McCoy

Major Gifts and Pledges ($25,000 and above) Shirley J. Berger† Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Elizabeth Willis Crockett Blanche Hamlet John W. Hughes III Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Amanda Kyser Georgia Carroll Kyser† Kimberly Kyser Drs. Michael and Christine Lee Anne and Mike Liptzin Bobby and Kathryn Long Mr. and Mrs. Robert F. Murchison Florence and James Peacock Anonymous Paul and Sidna† Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott Garry and Sharon Snook

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Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley† F. Weiss* *Deferred gift † Deceased

Endowed Funds ($100,000 and above) The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists.

The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music.

The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students.

The James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers.

The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

//12/13 CAROLINA PERFORMING ARTS SOCIETY ANNUAL GIFTS Contributions received July 1, 2011 to October 1, 2012.

Performance Benefactors ($15,000 and above) The William R. Kenan, Jr. Charitable Trust Amanda Kyser Kimberly Kyser William and Sara McCoy Wyndham Robertson Charles Weinraub and Emily Kass

David Lowry Swain Society ($10,000 - $14,999) The Abram Family Munroe and Becky Cobey Jane Ellison Mr. and Mrs. James Heavner Dr. Joan C. Huntley Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Anne and Mike Liptzin Francine and Benson Pilloff Shirley C. Siegel Mark W. and Stacey M. Yusko

Platinum Tier ($5,000 - $9,999) Eleanor and James Ferguson Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn

Gold Tier ($2,500 - $4,999) Richard A. and Lynda B. Baddour Betsy and Fred Bowman Cliff and Linda Butler Hodding Carter and Patricia Derian Castillo-Alvarez Fund of Triangle Community Foundation Michael and June Clendenin Frederic and Jane Dalldorf Shirley Drechsel and Wayne Vaughn Frank H. Dworsky Mimi and James Fountain Dr. Harry Gooder and Ms. Sally Vilas Mr. and Mrs. William H. Grumbles, Jr. Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas Carol and Rick McNeel James and Susan Moeser William Morton Paul D. and Linda A. Naylor Phil and Kim Phillips Paula Rogenes and John F. Stewart Coleman and Carol Ross

season donors Sharon and Doug Rothwell Anonymous Robert H. and Jane McKee Slater Beverly Taylor Michael and Amy Tiemann Charles M. Weiss Brad and Carole Wilson

Silver Tier ($1,000 - $2,499) James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh M. Robert Blum Stuart Bondurant and Susan Ehringhaus Robert W. Broad and Molly Corbett Broad James and Betsy Bryan Timothy Bukowski and Naomi Kagetsu Mr. and Mrs. Edmund S. Burke Leigh Fleming Callahan Michael and Diana Caplow Art Chansky and Jan Bolick Reid and Margaret Conrad Anonymous William and Barbara Dahl Mr. and Mrs. Douglas Dunnan Jo Anne and Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Pat and Jack Evans Raymond and Molly Farrow Jaroslav and Linda Folda Diane Frazier David G. Frey Dr. Rebecca Goz Robert and Dana Greenwood Anonymous Leesie and Bill Guthridge Ann and Jim Guthrie Roberta Hardy and Robert Dale Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Lisa and Emil Kang Mack and Hope Koonce Clara Lee Alice and Sid Levinson Memrie Mosier Lewis Judith Lilley in memory of Al Lilley Harriet and Frank Livingston Donald E. Luse Stephen J. and Karen S. Lyons Stanley R. Mandel Betty Manning Alice Dodds May Anne and Bill McLendon Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Barry Nakell and Edith Gugger Karl I. Nordling Newland and Jo Oldham Dr. Etta D. Pisano and Jan Kylstra Jolanta and Olgierd Pucilowski Dr. and Mrs. Harold Quinn Elizabeth Raft

2012/13 / / / carolina performing arts 55

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season donors

David and Susan Rosenberg Family Fund of the Triangle Community Foundation Michael and Susan Rota Lies Sapp Robert and Helen Siler Lynn Smiley and Peter Gilligan Robert H. Staton, Jr. John and Anne Stephens Mr. and Mrs. Alan C. Stephenson Drs. Kenneth and Mary Sugioka Kay and Richard Tarr Patti and Holden Thorp Diane Vannais and Charles Waldren Kay and Van Weatherspoon Alan Harry Weinhouse William Whisenant and Kelly Ross Jesse L. White, Jr. R. Mark and Donna Stroup Wightman John and Ashley Wilson

Sponsoring Members ($125 - $999) Brigitte Abrams and Francis Lethem Anonymous Sindo Amago Pete and Hannah Andrews Robert Antonio Nancy Appleby and James Brenner Nina Arshavsky Catherine C. Ascott Ingram and Christie Austin Peter Baer Andrew Baird Larry and Vicky Band Linda J. Barnard Judith and Allen Barton John W. Becton and Nancy B. Tannenbaum Aysenil Belger Donna Bennick and Joel Hasen Alan and Marilyn Bergman Sue Bielawski Lewis Black Gloria Nassif Blythe Jack and Jennifer Boger Natalie and Gary Boorman Thomas and Betty Bouldin Donald Boulton Craig and Catherine Briner Lolita G. Brockington Frederick and Nancy Brooks Ken and Margie Broun Betsy Bullen Thomas W. and Gail W. Bunn Bob Cantwell and Lydia Wegman Carolina Home Mortgage Philip and Linda Carl Catharine Carter Charles B. Carver Heng Chu and Ming-Ju Huang Jay and Barbara Cooper Gehan Corea Joanne and Michael Cotter Richard and Connie Cox Timothy and Anne-Marie Cuellar Dr. and Mrs. James W. Dean, Jr. John and Tina Deason John and Jill DeSalva Robert and Nancy Deutsch Mr. and Mrs. Michael J. Donoghue Mike and Linda Dore

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Steven Dubois and Kathleen Barker Sam and Angela Eberts Jerry and Adelia Evans Everette James and Nancy Farmer Stephen Farmer and Susan Steinberg Gail Fearing Patricia and Frank Fischer Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Maeda Galinsky Greg and Emily Gangi Kip and Susan Gerard Ann and David Gerber Mike and Bonnie Gilliom Lallie M. and David R. Godschalk in honor of Richard P. Buck Dr. James E. Godwin and Dr. E.A. Campbell Charles and Karen Goss Steve Gravely David and Debbie Hamrick Barbara and Paul Hardin Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Anne and Mike Liptzin Kenneth R. Hauswald Clark and Karen Havighurst David and Lina Heartinger Gerardo and Jo Heiss Hill Family Fund 2 of Triangle Community Foundation Charles Hochman and Phyllis Pomerantz Carol Hogue and Gordon DeFriese Joan and David Holbrook in honor of Professor Marvin Saltzman Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Beth Holmgren and Mark Sidell Elizabeth M. Holsten W. Jefferson Holt and Kate Bottomley Andrew and Charlotte Holton James and Elizabeth Hooten Mitchell and Deborah Horwitz David and Sally Hubby George William Huntley III Marija Ivanovic Drs. Konrad and Hannelore Jarausch Donald and Debra Jenny Dr. Norris Brock Johnson in honor of Ms. Beatrice Brock Chip Johnston Class of 1953 Joanna Karwowska in honor of your dedication and service to NetApp Hugon Karwowski John and Joy Kasson Moyra and Brian Kileff J. Kimball and Harriet King Lynn Knauff Gary and Carolyn Koch Michael and Maureen Kowolenko Anonymous G. Leroy Lail Ted and Debbie LaMay Barbara and Leslie Lang Ken and Frankie Lee Steven and Madeline Levine David Lindquist and Paul Hrusovsky Joan Lipsitz and Paul Stiller

Robert Long and Anne Mandeville-Long Richard Luby and Susan Klebanow Mary R. Lynn Donna Cook and Matthew Maciejewski Samuel Magill Richard Mann Mr. and Mrs. Uzal H. Martz, Jr. Timothy Mason Bill and Sue Mattern James O. May, Jr. Keith and Robin McClelland Tim and Roisin McKeithan Daniel D. McLamb Benny and Ann Morse Charles Mosher and Pamela St. John Christopher and Helga Needes John and Dorothy Neter Paul and Barbara Nettesheim Elisabeth and Walter Niedermann Marilyn and David Oermann Patrick and Mary Norris Oglesby Dennis Organ Vickie Owens Michele Pas Joel and Victoria Pineles Robert and Marilyn Pinschmidt David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Susan Henning and Vikram Rao Bryna and Greg Rapp Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Louise A. Robinson Stephen and Esther Robinson Andrea Rohrbacher Margaret Rook Richard and Rebecca Rosenberg John Sarratt and Cynthia Wittmer Julienne Scanlon Robert Schreiner Carol and David Sclove Jennifer and Bill Selvidge Robert Seymour Michael and Andrea Shindler Robert Shipley Mr. and Mrs. Keith Silva Mark and Donna Simon Charles and Judith Smith Dana L. Smith Ed and Carol Smithwick Harriet Solomon John and Carol Stamm Jane and Adam Stein Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff Leslie and Paul Strohm James and Sandra Swenberg Angela Lisa Talton Ellyn and Jimmy Tanner Sumner and Charlotte Tanson Sally and Nick Taylor Colin G. Thomas, Jr. Audie and Janice Thompson Rollie Tillman Aubrey and Jeanette Tolley Carol Tomason

M.E. Van Bourgondien Susan Wall R.H. and Barbara Wendell Marlene and Roger Werner Wellspring Fund of Triangle Community Foundation Harold and Kathryn Wiebusch Catherine B. Williams John W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard Silva Ron and Beverly Wilson Derek and Louise Winstanly Eliza M. Wolff Tin-Lup Wong John and Joan Wrede Anna Wu and George Truskey Virginia L. Wu Peter Crichton Xiques Duncan and Susan Yaggy Alex and Tamara Yamaykin David and Dee Yoder Betty York Ann B. Young

Undergraduate and Graduate Student Members ($35) Lauren Alexander Class of 2011 Geoffrey Geist Adrian Greene Laura Hamrick Katie Harris Marc Howlett Quinn Jenkins Hannah Martin Charles McLaurin John D. Millett Katey Mote Evan Shapiro Emily Simon Claire Thomson Hope Thomson Brendan and Tamara Watson Yuying Xie

Carolina Performing Arts Staff Contributions Jennifer Cox Raymond Farrow Butch Garris Mike Johnson Emil Kang Daniel D. McLamb Mark Z. Nelson Mark Steffen

For a complete listing of all annual fund donors, please visit www.carolinaperformingarts.org/impact.

STUDENT TICKET ANGEL FUND

Contributions received as of October 1, 2012.

Angel ($25,000 and above) Robert and Mary Ann Eubanks Joseph and Beatrice Riccardo Mark W. and Stacey M. Yusko

Patron ($5,000 - $9,999) Scott Garcia and Debbie McDermott* Thomas F. Kearns, Jr. Thomas S. Kenan III

Booster ($2,000 - $4,999) Elizabeth Bennett Terrell Boyle Patti and Eric Fast Paula Flood Dorothy Shuford Lanier Kay and Van Weatherspoon

Donor (Under $2,000) Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn Katelyn Ander Steven B. and Elizabeth A. Ayers Linda Barnard Allen and Judith Barton Pat Beyle Susan Bickford Dolores Bilangi Lewis Niles Black Robin Lenee Broadnax Roy Burgess Brock Maria Browne Meredith Bryson in honor of Sandra Hardy Bryson Stephanie Bullins Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara Holland Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Brooke Crouter Dr. James W. Crow John, Lou Anne and Calleigh Crumpler Robert and Kathleen Daniel Elizabeth Chewning Deacon Robin Dial M'Liss and Anson Dorrance Woody and Jean Durham E. Harold Easter, Jr. Judith Eastman Elizabeth H. T. Efird Jane Ellison Sharon M. Emfinger Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Eleanor and James Ferguson Susan Ferguson Sandra Strawn Fisher in honor of William Beecher Strawn Mimi and James Fountain George Fowler John W. Fox Linda Frankel William Friday Harry Garland Rose Marie Pittman Gillikin

Photo by Lauren McCay

2012/13 / / / carolina performing arts 57

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season donors

Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Timothy Hefner Joyce Williams Hensley Sara Hill George R. Hodges and Katherine W. Hodges Elizabeth Myatt Holsten William James Howe John and Martha Hsu Dr. Joan C. Huntley Donald and Debra Jenny Mrs. Frank H. Kenan Sharon May Kessler Anonymous Kimball and Harriet King Jamie Kirsch Debby Klein Gary Koch Dr. Marcia Anne Koomen George and Brenda Koonce Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Teresa Wei-sy Lee Joycelyn Leigh Dawn Andrea Lewis W. Cooper and Lorie Lewis Judith Lilley Anne and Mike Liptzin Walker Long Dayna Lucas Richard B. Lupton Knox Massey Family Catherine Mast Carol and Kenton McCartney Lauren McCay William and Sara McCoy G.W. McDiarmid and Robin Rogers Adele F. Michal Solon and Joy Minton Melanie Ann Modlin Michele Natale Mark and Leslie Nelson Ellen O'Brien Stephen Andrew Oljeski Jamie and Sean O'Rourke Josie Ward Patton Florence and James Peacock John Atlas Pendergrass Kenneth Lawing Penegar Phil and Kim Phillips S. Davis and Katherine Phillips Cathy and William Primack Teresa Prullage John Allen Quintus Charles Ratliff, Jr. Anonymous in honor of Annadele Herman Margaret Ferguson Raynor Deborah and Ed Roach Wyndham Robertson Margaret Rook

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Mr. and Mrs. Vernon Rosen in honor of Wyndham Robertson and in memory of Josie Robertson Rebecca and Rick Rosenberg Andrew and Barbra Rothschild Carrie Sandler Bev Saylor Mary and Ernie Schoenfeld Ms. Marjorie Moses Schwab Evan Shapiro Foy J. Shaw Thomas Edward Sibley Mark Sidell Mrs. Sidney Siegel Nancy Howard Sitterson†Jane McKee Slater Sarah Greer Smith Wiley Smith Harriet and Stu Solomon Gina Song Alan Clements Stephenson Laurence Stith, Jr. Warren and Sara Sturm Dr. Lara Surles John and Joe Carol Thorp Patti and Holden Thorp Mr. and Mrs. John L. Townsend III Caroline Ward Treadwell David Venable Jay and Leslie Walden Sheila Reneau Ward Shirley Warren in memory of Harold E. Warren Charles M. Weiss Alan Welfare Barbara Smith White Dr. Judy White Ronald White Tom and Lyn White Eliza M. Wolff Ruth Ann Woodley Ron and Ann E. Wooten Roger Chai Yu Douglas and Jacqueline Zinn *Deferred gift †Deceased

All photos by KPO Photo unless otherwise noted.

Become part of the creative process Your Opinions are Your Ticket Your reaction and feedback at these events will help guide and shape the artists’ final productions.

Nov 9/10 at 8PM | Gerrard Hall

The Life and Times of Chang and Eng

By Philip Kan Gotanda In cooperation with the First Year Seminars program and the Department of English, with additional support from the Teatro Latina/o Series.

Master playwright Philip Kan Gotanda reworks one of his newest and epic plays, about the original Siamese twins, Chang and Eng Bunker, whose early lives were spent as a touring “freak” exhibition.

Feb 15/16 at 8PM | Swain Hall – Studio Six Theater

F To M To Octopus

By Sam Peterson A UNC student selection, featuring work by digital media designer Jared Mezzocchi Sam Peterson presents a surprising look at the process of changing gender.

Mar 20/ 21 aT 7:30PM | Historic Playmakers Theatre

If My Feet Have Lost the Ground Torry Bend In collaboration with Raquel Salvatella De Prada, Jeanette Yew and Sarah Krainin An object theater performance with video, investigating the human in flight

Apr 22/23 at 7:30PM | Gerrard Hall

The Elektra Project Is this a tupperware party? Is that girl singing opera in the kitchen?

There’s blood everywhere… Haymaker and violinist/composer Jenavieve Varga of Chapel Hill band Lost in the Trees team up to build a new adaptation of Elektra. An American family. Bad dreams. Retribution. And matricide.

For more information, visit carolinaperformingarts.org/process-series

restaurant guide Make a night of it! Visit one of these downtown restaurants for a pre-performance meal or a late-night drink after the show.

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BANDIDO’S Mexican Cafe 159 1/2 E. Franklin St., Chapel Hill | 919.967.5048 4711 Hope Valley Rd., Durham | 919.403.6285 122 S. Churton St., Hillsborough | 919.732.8662

Come and taste why we have been voted “BEST” by local reader’s polls 6 times and why our salsa has won FIRST place in 6 local salsa competitions. www.bandidoscafe.com

BIN 54 1201-M Raleigh Rd.,Chapel Hill | 919.969.1155

Using only the highest quality ingredients, Bin 54 elevates classic steakhouse dishes to a new level of refinement. Staged in a warm contemporary setting, diners are offered glimpses of the woodfired grill, a canopied patio, and the temperature controlled wine room stocked with an extensive inventory of both eclectic and traditional selections. www.bin54chapelhill.com

carolina crossroads restaurant and bar 211 Pittsboro St., Chapel Hill | 919.918.2735

The award-winning AAA Four Diamond and Forbes Four-Star Carolina Crossroads Restaurant and Bar joins the graceful traditions of the south with progressive new American cuisine.

Executive Chef James Clark updates his menus seasonally to emphasize regional trends and to incorporate the freshest local ingredients.

Breakfast: 6:30am-11am Sunday Brunch: 11:30am-2pm Lunch: Mon-Sun 11:30am-2pm Dinner: Sun-Thu 5:30pm-9pm, Fri & Sat 5:30pm-10pm Bar Open: Mon-Sun 11am-11pm www.carolinacrossroadscuisine.com

Il Palio Ristorante at The Siena Hotel 1505 East Franklin St., Chapel Hill | 919.918.2545

Carolina Brewery 460 W. Franklin St., Chapel Hill | 919.942.1800 120 Lowes Drive, Pittsboro | 919.545.2330

Award-winning handcrafted beers paired with fresh and creative fare. Casual and fun atmosphere.

Tue-Thu: 11am-12am Fri & Sat: 11am-1am Sun & Mon: 11am-11pm www.carolinabrewery.com

Consistently awarded Four Diamonds by AAA and acclaimed by Conde Nast, Il Palio offers the finest Italian cuisine by Executive Chef Adam Rose and his staff. Seasonal menus showcase the freshness, excellence and diversity of NC's local farmers and artisan producers.

Experience the elegant dining room, intimate bar, or casual outdoor seating. Call for reservations. www.sienahotel.com

Mediterranean Deli & Catering 410 W. Franklin St., Chapel Hill | 919.967.2666

Be a part of our restaurant guide!

Call Amy Scott or Devon Semler at 919.834.9441 or email amys@opus1inc.com or devons@opus1inc.com

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Voted best caterer in the Triangle by both Independent Weekly and Chapel Hill Magazine readers 2011 and 2012. Pita bread baked on site using local, certified organic flour for a fully Kosher pita.

Mon-Sat: 11am-10pm | Sun: 11am-9pm www.mediterraneandeli.com

adv ert isement

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Panera Bread

Shula's 347

Enjoy delicious soups, fresh tossed salads and hearty hot and cold sandwiches in a comfortable environment. Our breads, bagels, cookies and pastries, are baked fresh daily.

Free wireless internet access is available.

One Europa Dr., Chapel Hill | 919.968.4900 Inside of the Sheraton Chapel Hill Hotel

R&R Grill


Shula's 347 features only Angus beef, the most tender of all cattle breeds, for the incredible selection of steaks and burgers. Founded by legend Don Shula, the most winning football coach in history, Shula's 347 is an impressive display of memorabilia showcased on football leather covered walls and beautiful dark woods.

Patrons can enjoy the finest of beef, delicate seafood, fan favorite appetizers, and desserts.

137 E. Franklin St., Chapel Hill | 919.240.4411


www.donshula.com/shulas-347-grill-chapel-hill

Everyone needs some R&R! Join us for 1/2 priced appetizers from 4-6pm Mon-Friday 1/2 priced wine bottles on Thursday

Talulla's

Mon-Sat: 6am-9am | Sun: 7:30am-9pm www.panerabread.com

Mon-Wed: 11am-12am or Empty Thu-Sat: 11am-2am | Sun: 10am-12am or Empty www.rnrgrill.com

raaga 3140 Environ Way, Chapel Hill | 919.240.7490

Raaga offers authentic Indian cuisine and a royal dining experience. After traveling the world for 35 years, our chef Durga Prasad has made Chapel Hill his home. Our world-renowned chef provides you with a unique dining experience.

Lunch: Mon-Fri: 11am-2pm, Sat-Sun: 12pm-3pm Dinner: Mon-Sun: 5pm-10pm (reservations recommended)

www.raagafinedining.com

456 W Franklin St.,Chapel Hill | 919.933.1177 Mezze-Pidde-Bar-Lounge

Classic Turkish and Ottoman cuisine in an authentic setting, where the flavors and atmosphere whisk you away to Turkey.

The extensive menu is a culinary journey of centuries-old recipes. Global wines, bar and lounge.

Lunch: Fri-Sun: 11:30am-3:30pm Dinner: Tue-Thu 4:30pm-10pm www.talullas.com

Vespa Ristorante 306-D W. Franklin St., Chapel Hill | 919.969.6600

Fine Italian & Mediterranean cuisine with outdoor patio seating. We also offer early dinning specials from 4pm to 6pm daily.

Lunch: 12pm-3pm | Dinner: 4pm-10pm Late Night: 10:30pm-2:30am www.vespanc.com

2012/13 / / / carolina performing arts 61

last word all the world is a stage – by Ron strauss /////////////////////////////////////////////////////////////////////////// Carolina seeks to prepare students for the world stage – to send them out into the world ready to learn, to discover, to serve, and to innovate. At UNC, we perform this role not only through academics, but through a diverse range of programming, activities, and opportunities both worldwide and here on campus.

Carolina Performing Arts continues to shine as a campus leader in engaging students and the community with world cultures and traditions. I’m continually impressed by how, season after season, Carolina Performing Arts creates a lineup that inspires the imagination, explores world traditions, and introduces audiences to some of the most influential works across generations – from Stravinsky’s The Rite of Spring to the Bolshoi Ballet to the Silk Road Ensemble with YoYo Ma. They share these works not only through performances, but also through a wide range of programming. While the performance troupes are in Chapel Hill, they are often invited to deliver lectures, conduct workshops with students, or participate in panel discussions, markedly widening the reach that these world-class artists have on the campus.

Through performances and outreach activities, we come to understand the dreams, hopes, and challenges that communities face worldwide. This is expressed in the theater and dance of cultures near and far,

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and we hear it in the notes of their music, from Afrobeat to Russian orchestras.

At their best, the arts invite us to expand our perspective by stepping out of our lives and into the experiences of others. In this way, the stage collapses the distances between countries and cultures. The arts are a vital entrée into a world arena, one that truly contributes to the globalizing of our campus and helps the University community better see and embrace commonalities and differences between diverse traditions and values of other cultures. In this way, Carolina Performing Arts plays an important role in furthering UNC’s global academic vision: raising audience awareness of world cultures and helping to create new generations of responsible global citizens.

Over the course of my career, I have been able to work and live in diverse world regions – from a year in Jerusalem, Israel, to working on research in Thailand, China and Brazil, even to performing dental surgery beneath a mango tree in the rural Honduran village of Pinalejo. These endeavors have taken me into the lives of many people whose daily activities and experiences are very different from my own. They have introduced me to different cultures, perspectives, and value systems – and these experiences, in turn, have informed my work as the leader of UNC Global. I’m committed to making more of these opportunities available to students at Carolina, and to introducing students to the diverse world around us.

It was in “As You Like It” that Shakespeare wrote, “All the world’s a stage.” Over the years, we’ve found many meanings in his phrase. As educators, we repeat the line to encourage students to understand that what they do will be seen and interpreted by others, that what we can imagine can be created, and that all of us contribute to the vast theater of life – and thus bear significant responsibilities to our communities and society at large. The arts can truly inspire us to see what’s possible – to see our own community values on stage and to understand the values of others. All the world is a stage, and at UNC, the Memorial Hall stage brings the world to us.

Ron Strauss is executive vice provost and chief international officer at UNC. Strauss holds appointments in three schools at UNC, as Dental Friends Distinguished Professor in the School of Dentistry’s Department of Dental Ecology, professor in the School of Medicine’s Department of Social Medicine, and clinical professor in the School of Public Health’s Department of Epidemiology. Strauss continues to direct the large campus-wide course on AIDS (Public Health 420) and also serves as a member of the UNC Craniofacial Center’s interdisciplinary clinical team for the care of children and adults with cleft lip, cleft palate, and other craniofacial conditions.

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advertiser’s index

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// 3 Cups | www.3cups.net............................................................................ 41 Ackland Art Museum | www.ackland.org................................................... 29 Ambiante International Furniture | www.ambientefurniture.com............... 63 Ballet School of Chapel Hill, The | www.balletschoolofchapelhill.com....... 41 Bandido’s Mexican Cafe | www.bandidoscafe.com.................................... 60 Bin 54 | www.bin54chapelhill.com............................................................. 60 Bookshop of Chapel Hill, The | www.bookshopofchapelhill.com................ 41 Carolina Brewery | www.carolinabrewery.com............................................ 60 Carolina Crossroads Restaurant and Bar www.carolinacrossroadscuisine.com...................................................... 60 Carolina Meadows | www.carolinameadows.org........................................ 21 Cassedy and Fahrbach | www.cassedyandfahrbach.com............................ 41 Cedars of Chapel Hill, The | www.cedarsofchapelhill.com.......................... 39 Core Catering | www.corecater.com........................................................... 21 Deep Dish | www.deepdishtheater.org......................................................OIFC Dina Porter | www.dinaporter.com.............................................................IFC Doncaster | www.doncaster.com................................................................ 29 Duke Gardens | www.gardens.duke.edu..................................................... 48 Fearrington House, The | www.fearrington.com.......................................... 23 Fine Feathers | www.finefeathersstyle.com................................................ 37 Forest at Duke, The | www.forestduke.org.................................................. 11 Galloway Ridge | www.gallowayridge.com................................................... 41 Goldworks | www.goldworks-nc.com..................................................IFC, OIFC Hamilton Hill Jewelry | www.hamiltonhilljewelry.com................................. 32 Home on the Range | www.chefdd.com..................................................... 11 Il Palio Ristorante at The Siena Hotel | www.sienahotel.com.................... 60

JewelRecycle | www.jewelrecycle.com......................................................OIFC Joe Van Gogh | www.joevangogh.com.........................................................IFC KPO Photo | www.kpophoto.com................................................................ 63 Mark Bray Enterprises | www.markbrayenterprises.com............................. 33 McDuffie Design | www.mcduffiedesign.com............................................. 36 Mediterranean Deli & Catering | www.mediterraneandeli.com.................. 60 Nasher Museum of Art at Duke University | www.nasher.duke.edu........... 22 New Hope Camp and Conference Center| www.newhopeccc.org............... 39 Nerium AD | www.markbrayenterprises.com................................................ 33 Opus 1, inc. | www.opus1inc.com.............................................................. 32 Panera Bread | www.panerabread.com................................................ 12, 61 Playmakers Repertory Company | www.playmakersrep.org........................ 45 R&R Grill | www.rnrgrill.com...................................................................... 61 Raaga | www.raagafinedining.com............................................................. 61 Shula's 347 | www.donshula.com/shulas-347-grill-chapel-hill.................. 61 Talulla's | www.talullas.com....................................................................... 61 The Print Shop | www.theprintshopchapelhill.com......................................IFC Triangle Youth Ballet | www.triangleyouthballet.org.................................... 22 Tyndall Galleries | www.tyndallgalleries.com..............................................IFC UNC Health Care | www.unchealthcare.org................................................ BC University Florist | www.universityflorist.com.............................................. 37 University Mall | www.universitymallnc.com......................................IFC, OIFC Vespa Ristorante | www.vespanc.com....................................................... 61 Village at Brookwood, The | www.villageatbrookwood.org.......................... 26 Wells Fargo | www.wellsfargo.com.............................................................. 11 William Travis Jewelry | www.williamtravisjewelry.com................................ 43

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