Carolina Performing Arts - Program Book 4 - 2011-12 Season by Emil Kang

/ 11 1 2 CREATE | PRESENT | CONNECT

Program Book 4 of 4 March 20 - April 25, 2012 Snow White â&#x20AC;&#x201C; Ballet Preljocaj1 carolina performing arts 11/12

11/12season 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 Council, Student Body Government and UNC News Services.

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Administrative staff

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

8 CIRCA – A Circa Production 12 An Evening with Herbie Hancock and His Band 14 Whispering Pines 10 – Shana Moulton & Nick Hallett

18 Snow White – Angelin Preljocaj/Ballet Preljocaj 22 Joshua Redman & Brad Mehldau Duo 26 European Union Youth Orchestra with Vladimir Ashkenazy, Music Director and Conductor 34 Cheikh Lô 36 The Göteborg Ballet

40 Béla Fleck and the Original Flecktones

Advertisers Make This Book Possible This program book would not be possible without the advertisers who support it. Their patronage means this information is 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 Kristy Timberlake at (919) 834-9441 or amys@opus1inc.com or kristyt@opus1inc.com. Céline Galli in Snow White by Ballet Preljocaj. Photo by Jean-Claude Carbonne. Elite Coach is the official transportation provider for Carolina Performing Arts’ artists.

carolina performing arts

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 Dysart – Artistic Assistant Raymond Farrow – Director of Development and Stategic Initiatives Butch Garris – Production Manager Erin Hanehan – Artistic Coordinator Matt Harris – Engagement Coordinator Ellen James – Marketing and Communications Manager Matt Johnson – Production Manager Mike Johnson – Associate Director Marnie Karmelita – Director of Artist Relations Susan Marston – Accountant 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

Letter from the Executive Director – Emil Kang

42 Donor Spotlight

43 National Advisory Board and Performing Arts Society 44 2011-12 Season Donors 48 Important Information 49 Student View 50 The Last Word 51

Advertisers Index

carolina performing arts 11/12

As the end of our 2011-12 season approaches, I can’t help but reflect on this year’s performances and marvel at everything we’ve experienced thus far. From Samuel Beckett’s darkly hilarious Endgame by the Gate Theatre Dublin to the dance party led onstage by African diva Angélique Kidjo, to the thrilling performances by Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique of Beethoven’s works, the performances this season have given us shared memories we’ll cherish for years. We’ve also embarked on new partnerships with our campus community this season. We collaborated with the Friday Center for Continuing Education for a lecture series on “The Genius of Bach,” taught by Chancellor Emeritus James Moeser, in support of the recent performances by Ton Koopman’s Amsterdam Baroque Orchestra and Choir. Further, we introduced a new series, Program Notes LIVE, in which we partner with UNC faculty members to lead pre-performance conversations.

However, there is still much to look forward to in the upcoming weeks. We will present an alluring retelling of the classic Grimm tale Snow White, performed by Ballet Preljocaj with costumes designed by Jean Paul Gaultier and set to the score of Mahler symphonies. We also look forward to a return visit by banjo virtuoso Béla Fleck, this time with his Original Flecktones. Also on the horizon is an international concert experience like none other, as the great maestro Vladimir Ashkenazy leads the European Union Youth Orchestra with our own Carolina Choir and UNC piano and voice faculty in an unforgettable performance of Beethoven’s Choral Fantasy. Surrounding this performance, more than 100 college-aged orchestra members will descend on UNC’s campus for four days, connecting and interacting with their peers at UNC through masterclasses and classroom visits, extending the international dialogue and creating a more personal connection to global performing arts.

We consistently seek to connect the arts with the academy and our community. Next season will serve as a landmark year for Carolina Performing Arts — and the arts at Carolina — as we launch The Rite of Spring at 100. To read more about this year-long celebration in 2012-13, flip to the back page of this book and read The Last Word. You can be one of the first to learn about some of the thrilling adventures we have in store. As always, I welcome you to Memorial Hall. Thank you for your support. Sincerely,

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

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CREATE | PRESENT | CONNECT CIRCA – Circus that moves the heart, mind and soul

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Mar 20/21 CIRCA – Circus that moves the heart, mind and soul

Mar 22 An Evening with Herbie Hancock and His Band

Mar 27/28

Whispering Pines 10 – Shana Moulton & Nick Hallett

Apr 4/5 Snow White – Ballet Preljocaj Apr 10 Joshua Redman & Brad Mehldau Duo

Apr 13 European Union Youth Orchestra with Vladimir Ashkenazy, Music Director and Conductor

Apr 14 Cheikh Lô

Apr 17 The Göteborg Ballet

Apr 25 Béla Fleck and the Original Flecktones

The Göteborg Ballet

Cheikh Lô

Snow White – Ballet Preljocaj

919-843-3333 | carolinaperformingarts.org

carolina performing arts 11/12

Not quite sure what you want? Sometimes you don’t know until you see it …

Cheikh Lô

Béla Fleck & the Original Flecktones

An Evening with Herbie Hancock and His Band

Joshua Redman & Brad Mehldau Duo

High Energy

DATE NIGHT

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

Looking for a fun and relaxing evening out? Bring that special someone, then sit back and enjoy.

Cheikh Lô

Béla Fleck and the Original Flecktones

n An Evening with Herbie Hancock and His Band n

Snow White – Ballet Preljocaj

Whispering Pines 10

Joshua Redman & Brad Mehldau Duo

CIRCA – Circus that moves the heart, mind and soul

The Göteborg Ballet

BREAKTHROUGH

GLOBAL VIEWS

These cutting edge, avant-garde performances are guaranteed to stir your soul.

Travel the globe without leaving the Triangle.

Snow White – Ballet Preljocaj

Whispering Pines 10 – Shana Moulton & Nick Hallett n

CIRCA – Circus that moves the heart, mind and soul (Australia) n

European Union Youth Orchestra with Vladimir Ashkenazy, Music Director & Conductor n

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The Göteborg Ballet (Sweden)

carolina performing arts 11/12

CIRCA

A Circa Production Tuesday, March 20 and Wednesday, March 21 at 7:30pm

“ Knee-tremblingly sexy, beautiful and moving.” – The Guardian (UK)

Program Notes LIVE | The Right Brain | After the Show March 20, Memorial Hall

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special event

special event Yaron Lifschitz, Artistic Director

Presented In Association With ArKtype

Yaron Lifschitz, Artistic Director Ben Knapton, Associate Director Danielle Kellie, Producer Diane Stern, Tour Manager/Director Jason Organ, Lighting Designer Libby McDonnell, Costume Designer Arktype/Thomas O. Kriegsmann, Executive Producer, U.S. Tour Performers Valerie Doucet Casey Douglas Darcy Grant Scott Grove Emma McGovern Kathryn O’Keeffe Lewis West

About the Show & Company Circa’s self-titled creation is movement at its most adventurous and dangerous. Seven performers move from highly connected acrobatic and tumbling sequences to fast-paced moments of great intricacy where precision and timing are everything. Their signature style combines physical beauty, formidable circus skills and an immersive use of sound, light and projection. The result is a new form of captivating circus performance that is impossible to forget. Australia’s Circa is a company of national and international significance with an impressive reputation of innovation, touring and developing repertoire and local workshop programs. Having performed in more than 18 countries since 2006, its work continues to be rapturously received by audiences, presenters and critics alike. Artistic Director Yaron Lifschitz describes Circa’s work as one that defies description: “It is, in its heart, a report on what is alive, nourishing and contemporary in circus. It is also a strange and curious new beast — at once savage, funny, lyrical, pure and challenging.”

Yaron Lifschitz is a graduate of the University of New South Wales, University of Queensland and the National Institute of Dramatic Arts (NIDA) where he was the youngest director ever accepted into its prestigious graduate director’s course. Since graduating, Yaron has directed more than 60 productions including large-scale events, opera, theater, physical theater and circus. His work has been seen in 18 countries, across five continents and by more than 500,000 people. Yaron was founding Artistic Director of the Australian Museum’s Theater Unit, Head Tutor in Directing at Australian Theater for Young People, and has been a regular guest tutor in directing at NIDA since 1995. With Circa, Yaron has created works such as Wunderkammer, CIRCA, by the light of stars that are no longer..., The Space Between and 61 Circus Acts in 60 Minutes. His recent works have been described in reviews as being “beautiful and moving” and “the standard to which all other circuses can aspire.” Yaron lives in Brisbane, Australia with his son, Oscar. His passion is creating works of philosophical and poetic depth from the traditional languages of circus.

Diane Stern, Tour Manager/Director Diane Stern has a Bachelor of Theater Arts from New Mexico State University, where she graduated with honors. It was in the founding of a small theater company in Seattle, Wash., that she discovered a passion for producing performing arts. She then moved into the role of Assistant Production Manager for Intiman Theater in Seattle before moving up to fill the same role at the prestigious Seattle Repertory Theater. After taking time off to travel the world, she achieved her dream of going to Australia where she immediately joined Circa as producer. Diane had the immense pleasure of producing the company's first ever sevenperson ensemble creation, Wunderkammer, which premiered at the Brisbane Festival 2010. After getting a taste of life on the road, she transitioned into the role of Tour Manager/ Director and is delighted to be part of the team taking Circa to the world.

mar 20/21

Tuesday/Wednesday, 7:30pm

ArKtype / Thomas O. Kriegsmann, Executive Producer ArKtype was founded in 2006 under the direction of Thomas O. Kriegsmann toward the long-term development, production and touring of internationally based performance work and curating. His acclaimed work as producer has been seen worldwide. He proudly began his work in the production and development of emerging ensembles and is currently represented off Broadway and on tours worldwide with Yael Farber / The Farber Foundry (South Africa); Nalaga’at (Tel Aviv); Peter Brook / CICT (Paris); Phantom Limb (New York); Jessica Blank & Erik Jensen’s Aftermath (New York); Circa (Brisbane); Mikhail Baryshnikov/Krymov Laboratory (Moscow/ NYC); T.P.O. (Italy); Superamas (Vienna); Aurélia and Victoria Thiérrée-Chaplin (France); KMA (London); Jay Scheib (Cambridge); World/Inferno Friendship Society (Brooklyn); Rude Mechs (Austin, TX); Theater for a New Audience (New York), as well as producing the Baryshnikov Arts Center/FSU Ringling International Arts Festival with in Sarasota, Fl. Upcoming premieres include Phantom Limb’s 69˚S. in collaboration with Kronos Quartet; Yael Farber’s The Ramayana; and Jim Jarmusch’s/Phil Kline’s Tesla In New York.

Circa Post P.O. Box 116, Fortitude Valley QLD 4006 Australia  P: +61 7 3852 3110  F: +61 7 3852 3120  E: info@circa.org.au  W: www.circa.org.au Exclusive U.S. Tour Contact: Thomas O. Kriegsmann, President ArKtype P.O. Box 180241 | Brooklyn, NY 11218 Mobile: +1 917-692-8218 Fax: +1 347-889-5031 Email: alex@arktype.org | tommy@arktype.org Website: www.arktype.org

carolina performing arts 11/12

CIRCA Jess adams The challenging of forms has always been a cornerstone of brilliant artistry. Circa, with its fingers and toes in everything from dance, to circus, to concepts as large as the human condition, is indicative of this sort of artistry, and we are incredibly fortunate to have them here with us at Carolina Performing Arts. Often in theater, we take the body for granted as the necessary avenue through which text and emotion must be transmitted from performer to audience. Still, before this expression can exist, somewhere in our mass of neurons, somewhere between the transfer of chemicals and bodily matter, love, hate and desire must first be born. This summer, I had the opportunity to travel to several schools of physical theater. My experience was challenging. My muscles failed and renewed themselves. I occasionally had to scoot down the stairs in the morning because my legs wouldn’t work; but through the support of an ensemble, my understanding of theater-making and my own body expanded. The capacity for art exists not only in the mind, but in muscles, in tendons, in the spine and in the tactile contact between one ensemble member and another. The hours of dedication, training and sincere work that the members of Circa have invested in their art is astounding and commendable. This training is not easily approached, but with the support of an inspired ensemble, the body’s capacity, as well as the capacity of the art of circus itself, expands beyond individual expectation. Its motion is truly a sight to behold. Circa reveals the capacities of the human body in a truly stunning and humbling way. We are very proud to have them with us on campus, and we welcome them wholeheartedly to the Memorial Hall stage. Thank you for coming, and enjoy the show! Jess Adams (’12) studies dramatic art and anthropology at UNC, with a minor in creative writing. She spent the past summer studying with Double Edge Theatre, Teatro Punto at the Lecoq Lees Studio in France, and Dell’Arte International, and plans to audition for circus school in the next year.

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carolina performing arts 11/12

An Evening with Herbie Hancock and His Band Thursday, March 22 at 7:30pm Herbie Hancock, piano James Genus, bass Trevor Lawrence, drums Lionel Loueke, guitar

“The forever-curious, forward-looking innovator...” – Variety

Program Notes LIVE | Great Minds | 6:30pm March 22, Gerrard Hall

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♥

special event

mar 22

Thursday, 7:30pm

special event Program to be announced from the stage. Herbie Hancock Herbie Hancock is a true icon of modern music. Throughout his artistic explorations, he has transcended limitations and genres while maintaining his unmistakable voice. In addition to being recognized as a legendary pianist and composer, his illustrious career includes an Academy Award for his Round Midnight film score and 14 Grammy Awards, including Album of the Year for River: The Joni Letters in 2008.

There are few artists in the music industry who have had more influence on acoustic and electronic jazz, R&B and modern rock. Many of his compositions, including "Cantaloupe Island," "Maiden Voyage," "Watermelon Man," "Chameleon" and "Rockit" are contemporary standards that have had a profound effect on all styles of modern music. As the immortal Miles Davis said in his autobiography, "Herbie was the step after Bud Powell and Thelonious Monk, and I haven't heard anybody yet who has come after him." Recently named by the Los Angeles Philharmonic as Creative Chair for Jazz, he also serves as Institute Chairman of the

Thelonious Monk Institute of Jazz, the foremost international organization devoted to the development of jazz performance and education worldwide. A founder of The International Committee of Artists for Peace, he was recently awarded the Commandeur des Arts et des Lettres. Now in the fifth decade of his professional life, Herbie Hancock remains where he has always been: in the forefront of world culture, technology, business and music. Though one can't track exactly where he will go next, he is sure to leave his inimitable imprint wherever he lands.

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carolina performing arts 11/12

“Clever and amusing...delightful.” – Culturebot

Whispering Pines 10 Shana Moulton & Nick Hallett ❖

Tuesday, March 27 and Wednesday, March 28 at 7:30pm

❖ Program Notes LIVE | The Right Brain | After the Show March 27, The Loading Dock

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loading dock

mar 27/28

Tuesday/Wednesday, 7:30pm

loading dock This performance takes place in our Loading Dock configuration, in which audiences and artists share the Memorial Hall stage. Directed by Elyse Singer

Cynthia – Shana Moulton Psyche – Daisy Press Luna – Nick Hallett Julia – Katie Eastburn Harp – Shelley Burgon Sound Design – Jeff Cook Special Thanks to Brock Monroe Whispering Pines 10 was developed through the Harvestworks Artist In Residence Program with additional support from the Experimental Television Center, The Kitchen, New Museum of Contemporary Art and Rhizome.

Program Notes Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, featuring vocalist Daisy Press. Directed by Elyse Singer, it features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment — an interactive video set that utilizes real-time multimedia techniques its creators call “live animation” — she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative and surreal. Whispering Pines is the celebrated video serial created by Moulton in 2002 that has spawned nine episodes, along with related performances, videos and gallery installations. Whispering Pines 10, the latest installment, is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise — a woman alone in her private environment, aided by technology — enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed

by Hallett take advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds of her inner psychology are sung — glossolalia and the songs in her memory, ostensibly derived from tacky pulp culture, but somehow heightened. The work is a conversation-generating update of the monodrama or “mad scene,” realized within a mediated, medicated, feminized and quintessentially American vernacular. Nick Hallett is a composer, vocalist and cultural producer. Trained at Oberlin College in vocal performance and linguistics, Hallett’s approach is rooted in music but fully ventures into new media, live cinema, performance and art. Hallett held the New Museum’s first RE:NEW RE:PLAY artist residency in 2009 and his work was included in the 2007 and 2009 Performa biennials. He concertizes at ISSUE Project Room, Le Poisson Rouge, The Stone, Calder Foundation and Poetry Project among others and has scored films by A.L. Steiner/A.K. Burns, Matt Wolf, Joshua Thorson and Tara Mateik. After organizing a concert for the Joshua Light Show — a pioneering psychedelic lightshow from the late 1960s — at The Kitchen in 2007, Hallett became its music director and producer, composing original music for the project in a 360-degree full dome presentation at the American Museum of Natural History’s Hayden Planetarium. As a vocalist, Hallett has performed in the operas of Anthony Braxton, Susie Ibarra and Matthew Welch, among others, while independently pursuing new interpretations of pioneering experimental vocal work by Meredith Monk and Karlheinz Stockhausen. With Zach Layton, Hallett co-directs the Darmstadt new music series at ISSUE Project Room, which carolina performing arts 11/12

has been called “a provocative tweak” by The New York Times for its commitment to presenting rarely heard works from the experimental music canon. From 2000 to 2003, he led the band Plantains, a new wave/cabaret act incorporating electronic music and video, collaborating with Ray Sweeten and Seth Kirby, among others. A Career Retrospective of this work was released in 2010 on the I, Absentee label. Whispering Pines 10, a collaboration with artist Shana Moulton, is his first opera, and he hopes to continue down this path. Shana Moulton lives and works in Queens, New York. She earned her BA from the University of California at Berkeley in art and anthropology, an MFA from Carnegie Mellon University and has attended the Skowhegan School of Painting and Sculpture and De Ateliers in Amsterdam. She has been an artist-in-residence at The Sommerakademie in Berne, Switzerland the Lower Manhattan

Cultural Council and Harvestworks in New York, and has received grants and fellowships from The Foundation for Contemporary Arts and the Experimental Television Center. Moulton has exhibited or performed at venues such as The New Museum, MoMA P.S.1, Performa 2009, The Kitchen, Electronic Arts Intermix, Art in General in New York, the Andy Warhol Museum in Pittsburgh, The Wexner Center in Columbus, Wiels Center for Contemporary Art in Brussels, The Migros Museum in Zurich, De Appel in Amsterdam, Kunstnernes Hus in Oslo, The Museum of Contemporary Art in Banja Luka, The Times Museum in Guangzhou, China and The 29th Ljubljana Biennial. Her videos have also been screened at film festivals including Migrating Forms, Impakt Festival, Rencontres Internationales, European Media Arts Festival, Internationale Kurzfilmtage and The Chicago Underground Film Festival. Moulton's work has been reviewed in The Village Voice, Artforum, The Brooklyn Rail, The New York Times, Artnet Magazine, Frieze Magazine,

Artpress and Flash Art. She is a featured artist at Electronic Arts Intermix and her work has been featured on Arte TV and PBS's Art21. Elyse Singer is a director/writer/producer and the founding artistic director of the OBIEwinning theater company Hourglass Group. She was recently named Co-Artistic Director of LoNYLa NY. Her work has been seen OffBroadway, regionally and internationally. Singer’s original multi-media play Frequency Hopping won the International STAGE Playwriting Competition and ran at 3LD Art & Technology Center. Her Off-Broadway directing credits include Trouble in Paradise; the first NYC revival of Mae West’s 1926 play SEX; the first U.S. revival of West’s Pleasure Man (starring Charles Busch); Ruth Margraff’s Red Frogs at P.S. 122; and Deborah Swisher’s Hundreds of Sisters & One BIG Brother. Singer’s other original works include Love in the Void, Care-less: Eva Tanguay and Private Property (Edinburgh Fringe, BBC-TV). As producer: Beebo Brinker Chronicles OffBroadway at 37 Arts (co-produced with Lily

Whispering pines 10 amy white In Shana Moulton’s videos, integrated systems of New Age kitsch, thrift-store aesthetics and low-tech nostalgia churn within surprisingly personal and vulnerable narratives. A volatile concoction of Crystal Light and red food coloring triggers a series of Alice-in-Wonderland worthy hallucinations of hobby-craft peacock feathers, fake birds and a plastic mushroom sculpture stuck into a block of aqua-tinted Styrofoam. Moulton’s videos are saturated with a dizzying blend of quirkiness and mystery. In her Whispering Pines performance and video series, Moulton’s “reclusive hypochondriac” protagonist, Cynthia, locates a piece of a missing puzzle in the back of a mechanical waterfall painting, only to discover the missing piece is imprinted with the image of her own face. A kaleidoscopic confusion of selfhood permeates Whispering Pines, in which Cynthia sees herself in distorted toy mirrors, discovers Jonathan Livingston Seagull platitudes on the back of stick-on pore cleaning strips, and is serenaded by a fleshy Picasso-esque sculpture of herself, a fantastical conflation of self-help and helpless self. Moulton has partnered with the composer Nick Hallett to transform Whispering Pines into a full-blown opera for the stage, with

carolinaper formingar ts.org // (919)843-3333

three-channel video incorporating interactive “live animation” techniques, “hacked objects” and original electronic music. In the live version Moulton’s Cynthia swims inside a tidal wave of fluid digital imagery and negotiates an imploded world of 2D/3D, transforming the stage into an interactive, password protected, virtual space, a live rendering that triggers associations to Second Life, Pee Wee’s Playhouse and The Cabinet of Dr. Caligari. A sublime aria is sung against a backdrop of exercise video. Our protagonist’s corporeal body is shattered like a dish and reconstituted in shards against the healing white space of a Band-Aid. The fact that “Whispering Pines” was also the name of the trailer park where Moulton grew up imbues this work with a complexity and a dimension of autobiography that gives its surrealism the shape of a meaningful dream. Amy White is a graduate student in art history at UNC. She writes about art for the Independent Weekly, Art Papers and other publications and has received awards for her art criticism from the NC Press Association and the American Association of Alternative Newsweeklies.

Tomlin), winner of the 2008 GLAAD Media Award for Outstanding New York Theater. A Yale graduate, Singer is a Usual Suspect at NYTW, an alum of the LCT Directors Lab and a member of the League of Professional Theater Women. Elyse Singer is delighted to be continuing her collaboration with Shana Moulton, Nick Hallett and Daisy Press on Whispering Pines. Daisy Press, vocalist, is a prominent interpreter of avant-garde classical repertoire, though her most recent performances have been in the pop world. She is currently the lead backing singer/dancer for the Montrealbased electrofunk duo Chromeo. Recent solo appearances in the classical realm include a cameo in director Jonathan Parker’s film (Untitled), starring Adam Goldberg, as well as several performances of Morton Feldman’s Three Voices. The studio recording of Press’ version of this piece will soon be released on Cantaloupe Records. Another recent notable appearance was on George Crumb’s Unto the Hills with So Percussion at Miller Theater,

for which The New York Times praised Press’ “winning subtlety and understatement.” She has also performed Steve Reich’s Drumming and Music for 18 Musicians with So Percussion at the same venue. Additional credits include being the featured soloist for the New York premiere of Phillipe Leroux’s Voi(rex) at Miller Theater alongside IRCAM; Apparition by George Crumb at the Bang on a Can Marathon, where Press was singer-in-residence for two years; Attila-Joszef Fragments by György Kurtág at Symphony Space; and excerpts, with the composer in attendance, for Elliot Carter’s Of Challenge and of Love. Ms. Press recently served on faculty at the Manhattan School of Music, where she received her master’s degree. She also holds academic degrees from Sarah Lawrence College and Oxford University, and she has studied voice in the studios of Trish McCaffrey and Hilda Harris, and North Indian ragas with Michael Harrison.

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❖

Snow White – Angelin Preljocaj/Ballet Preljocaj Wednesday, April 4 and Thursday, April 5 at 7:30pm

“A central presence on the European contemporary dance scene.” – The New York Times

The performance of Snow White by Ballet Preljocaj is made possible, in part, by Performance Benefactor Jane Ellison.

Program Notes LIVE | Great Minds | 6:30pm April 5, Historic Playmakers Theatre

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special event Creation 2008

special event

APR 4/5 Wednesday/Thursday, 7:30pm

Piece for 25 dancers

Choreography Angelin Preljocaj Costumes Jean Paul Gaultier Music Gustav Mahler Additional music 79 D Set design Thierry Leproust Lighting Patrick Riou assisted by Cécile Giovansili and Sébastien Dué Associate Artistic Director Youri Van Den Bosch Rehearsal assistant Natalia Naidich Choreologist Dany Lévêque Absailing trainer Alexandre del Perugia Dancers Snow White: Nagisa Shirai The Prince: Fabrizio Clemente The Queen: Gaëlle Chappaz The Mother: Nuriya Nagimova The King: Sergi Amoros Aparicio The “Cats/Gargoyles”: Natacha Grimaud and Émilie Lalande and Yacnoy Abreu Alfonso, Virginie Caussin, Aurélien Charrier, Baptiste Coissieu, Sergio Diaz, Carlos Ferreira Da Silva, Céline Galli, Caroline Jaubert, Jean-Charles Jousni, Céline Marié, Lorena O'Neill, Fran Sanchez, Anna Tatarova, Patrizia Telleschi, Julien Thibault, Yurie Tsugawa, Liam Warren, Nicolas Zemmour Scenery construction Atelier Atento Costume maker Les Ateliers du Costume Technical Director Luc Corazza General production and sound manager Martin Lecarme Lighting manager Sébastien Dué Stage manager Michel Carbuccia, Mario Domingos Stagehand Juliette Corazza Wardrobe mistress Martine Hayer Created during a residency at Grand Théâtre de Provence, Aix-en-Provence, France. Coproduction Biennale de la danse de Lyon / Conseil Général du Rhône (Lyon, France), Théâtre National de Chaillot (Paris, France), Grand Théâtre de Provence (Aix-en-Provence, France), Staatsballet Berlin (Germany) Special thanks to Jean Paul Gaultier A prize winner at « Globes de Cristal 2009 » The Ballet Preljocaj — National Choreographic Centre is subsidized by the Culture and Communication Ministry — DRAC PACA, the Provence-Alpes-Côte d’Azur Region, the Bouches du Rhône County Council, the Pays d’Aix Community and the City of Aix-en-Provence, and is supported by the Groupe Partouche — Casino Municipal d’Aix-Thermal, helping it to develop its projects, and Institut français — Ministry for Foreign Affairs, helping to finance some of its overseas tours. North American Representative: Sunny Artist Management Inc. Ilter Ibrahimof, Director

Program Notes From Angelin Preljocaj interview with Agnès Freschel, March 2008 Why Snow White? I was very keen to tell a story. I have recently created some very abstract pieces with Empty moves and Eldorado (Sonntags Abschied) and, as often happens, I wanted to do something completely different, write something very concrete and offer something magical and enchanted. No doubt it was to avoid getting into a rut. And also because, like everyone else, I love stories.

A narrative ballet Snow White is a narrative ballet with its own dramatic content. The places are represented by Thierry Leproust’s sets. The dancers play their parts in costumes by Jean Paul Gaultier. It’s not The Myth or The Legend of Snow White, it’s Snow White herself. It’s really her story…

Telling a story through dance It’s not easy, and that’s what is so fascinating. How do you get the story across? In L’Anoure, I chose to let the audience hear Pascal Quignard’s text on the soundtrack. But with Snow White, I’m using an argument that everyone knows, which allows me to concentrate on what is being said by the bodies, the energies and the space and what the characters feel and experience in order to show how the bodies are transcended. And Snow White contains objects that are wonderful for a choreographer’s imagination.

The symbols of the tale I have followed the version by the Grimm brothers, with just a few personal variations based on my own analysis of the symbols in the tale. Bettelheim describes Snow White as an Oedipus in reverse. The wicked stepmother is without doubt the central character in the tale. She is the one I examine through her narcissistic determination not to give up on seduction and her role as a woman, even if it means sacrificing her stepdaughter. The understanding of symbols belongs to adults as well as children; it’s for everyone, and that’s why I like tales.

www.sunnyartistmanagement.com carolina performing arts 11/12

A contemporary, romantic ballet This ballet is particularly important to me — and I insist on the word “ballet” — as it brings together 25 dancers of the company. They will be dancing to Mahler’s symphonies, whose magnificent excesses are of a romantic nature. Historically, Grimm’s tales are too, even though their refined style suggests a more contemporary form. Trying to move people emotionally is a delicate undertaking. Mahler’s music has to be used with enormous care, but it’s a risk I’m keen to take.

Angelin Preljocaj, Choreographer Angelin Preljocaj was born in the Paris region and studied classical ballet before turning to contemporary dance, which

he studied with Karin Waehner. In 1980, he went to New York to work with Zena Rommett and Merce Cunningham, later resuming his studies in France with teachers including American choreographer Viola Farber and French choreographer Quentin Rouillier. He joined Dominique Bagouet before founding his own company in 1984. He collaborates regularly with other artists including Enki Bilal (Roméo et Juliette, 1990), Goran Vejvoda (Paysage après la bataille, 1997), Air (Near Life Experience, 2003), Granular Synthesis (“N”, 2004), Fabrice Hyber (Les 4 saisons…, 2005), Karlheinz Stockhausen (Eldorado - Sonntags Abschied, 2007), Jean Paul Gaultier (Snow White, 2008), Constance Guisset (Le funambule, 2009), Claude Lévêque (Siddharta, 2010) and Laurent Garnier and Subodh Gupta (And then, one thousand years of peace, 2010).

His productions are in the repertoire of many companies, many of which also commission original productions from him, notably La Scala of Milan, the New York City Ballet and the Paris Opera Ballet. He has made short films (Le postier, Idées noires in 1991) and several full-length films, notably Un trait d’union and Annonciation (1992 and 2003), for which he was awarded the “Grand Prix du Film d’Art” in 2003, the “Vidéo-Danse” First Prize in 1992 and the Prague Video Festival Prize in 1993. In 2009, he made Snow White, featuring his own piece, and in 2011 he signed for Air France the commercial L’Envol, based on the choreography of Le Parc. Since then he has collaborated on several films of his own choreographic work: Les Raboteurs with Cyril Collard (based on the painting by Gustave Caillebotte) in 1988, Pavillon Noir with Pierre Coulibeuf in 2006

SNOW WHITE judy adamson Carolina Performing Arts presents major ballet companies each season. Ballet Preljocaj, a French contemporary group performing Snow White, a modern interpretation of the Grimm Brothers’ fairy tale, is especially noteworthy in part because the costumes are designed by Jean-Paul Gaultier, the enfant terrible of Paris fashion. It is not unusual for fashion designers to work in ballet. Norma Kamali designed In the Next Room for Twyla Tharp, and Oscar De la Renta has designed for Jerome Robbins, Twyla Tharp and Peter Martins. Coco Chanel designed a staging of Apollo for George Balanchine. But a foray into the ballet world by a costume designer can be tricky. Not all collaborations prove successful. Recently Stella McCartney designed Ocean’s Kingdom, choreographed by Peter Martins to a new score written by her father, Paul McCartney, for New York City Ballet. The New York Times review called the clothes “intrusive, unflattering and clichéd.” Why not hire a seasoned ballet designer? Perhaps producers hope that a designer’s name will help sell tickets. But more often I think it is simply the fact that many choreographers are excited by the theatrical flair that a fashion designer can bring to a piece. In 1988, I had the good fortune to assist the legendary costume maker, Barbara Matera, in the creation of costumes for Gaite Parisienne for American Ballet Theatre, designed by Christian Lacroix. At the time the designer’s pouf dresses were the latest thing in fashionable circles.

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Lacroix’s polka-dot blouses with striped skirts for the ballet’s stylized cancan, his embroidered jumpsuit for the swaggering Peruvian and the charm of his delicate tutu for the character of the Glove Seller all told the story of the naughty nightlife of Paris. Watching Lacroix in the fitting room was a memorable experience. We had put our best foot forward with the prototypes during our one scheduled fitting with the designer. The shopping department had scoured New York City for fabrics and trim. Lacroix knew exactly what he wanted from the moment he walked in. He discussed the mock-ups with the draper, the hat shapes with the milliner and pulled swatches from the boards down to the last small bit of trim. At the end of the day we felt that we had been breathing rarified air. Jean-Paul Gaultier, one of our modern fashion icons, has moved beyond the famous conical bra that he designed for Madonna. With this ballet he establishes himself as a worthy collaborator with Angelin Preljocaj, heightening the drama of the familiar tale with wickedly erotic costumes. Be forewarned: we’re not in Disney World here! Judy Adamson is the costume director for PlayMakers Repertory Company and head of the graduate program for Costume Production in UNC’s Department of Dramatic Art. She worked for 14 years at New York’s Barbara Matera Ltd.

and Eldorado/Preljocaj with Olivier Assayas in 2007. Several books have been written about his work, notably Angelin Preljocaj (2003), Pavillon Noir (2006) and Angelin Preljocaj, Topologie de l’invisible (2008).

Ballet Preljocaj - National Choreographic Centre 1985: The Birth of a Company

Created in 1985, the Preljocaj Company became the National Choreographic Centre of Champigny-sur-Marne and Val-de-Marne in 1989. In 1996, the ballet was welcomed at the Cité du Livre in Aix-en-Provence and became the Ballet Preljocaj — National Choreographic Centre of the Provence-Alpes-Côte d’Azur Region, the Bouchesdu-Rhône Department, the Pays d’Aix Community and the City of Aixen-Provence. Since founding his company, now composed of 26 dancers, Angelin Preljocaj has created 46 choreographic works, ranging from solo to larger formations. The Ballet performs about 100 dates per year on tour, in France and abroad. Beyond the repertory performances, the Ballet Preljocaj has been increasing its local actions in Aix-en-Provence and neighboring communities, in order to share its passion for dance with a broader public, through lectures on dance interpretation through video, public rehearsals, contemporary dance classes and workshops and dance interventions in urban public space – all means of viewing and understanding dance from different perspectives. Ballet Preljocaj is now settled into its new home, designed by architect Rudy Ricciotti in Aix-en-Provence. The Pavillon Noir is the first production center built for dance, where artists will be able to go through the entire creative process, from workshops and rehearsals to staging and performance. The Pavillon Noir opened its doors in 2006 with Angelin Preljocaj as artistic director. Performances by Angelin Preljocaj and other invited companies are programmed all year round. www.preljocaj.org

Jean Paul Gaultier, Costumes Born in Arcueil in 1952, Jean Paul Gaultier made his first drawings of haute couture models as a child, taking his inspiration from his urban environment. Fashion proved to be his real passion. At of the age of 18, he joined Pierre Cardin’s team, then worked with Jacques Esterel and Jean Patou, returning to Cardin in 1974. In 1976, his first clothing collection took the fashion world by storm and the Gaultier style was born. He loves to surprise and mix styles. His own look

(seaman’s jersey, kilt and crew-cut platinum blonde hair) turned him into a legend. Known as the "enfant terrible of French fashion," he has continually revolutionized fashion, with recycled fashion in 1980 (car leather and cans turned into clothing and jewelry), the Corset Dress in 1983 and the skirt for men two years later. His triumphant success allows him to continue his fight against the barriers of race and geography and against intolerance. The themes of his collections underline his ambition to mix genres and break rules: La concierge est dans l'escalier, Les Rock-Stars, Une garde-robe pour 2, Black Beauties, Barbes... As a show business darling, he has worked with many celebrities including Madonna, for whom he designed the famous twin-coned corset. He has also designed costumes for films such as Luc Besson's The Fifth Element and others for choreographer Régine Chopinot. Following on from fashion, accessories and film costumes, he designed a perfume that has remained amongst the bestsellers for over a decade. In 1997, he fulfilled his childhood dream by presenting his first haute couture collection and founding Haute Couture Gaultier Paris. www. jeanpaulgaultier.com

Thierry Leproust, Set Design Born in 1948, Thierry Leproust studied interior design, design and sculpture at the Boulle School. He lives and works in Paris. Alongside his work as a visual artist, he began a career as a set designer for opera, theater, dance and cinema in 1983. Since 1975, he has exhibited his visual art regularly in France and abroad. His works form part of a number of public and private collections. He has produced the settings for many creations by Angelin Preljocaj: Amer America (1990), La Peau du Monde (1992), Le Parc (1994), L'Anoure and L'Oiseau de feu (1995), Casanova (1998), Le Sacre du Printemps (2001), and Le Songe de Médée (2004). He has worked with choreographers Nadine Hernu, Blanca Li and Patrick Salliot. In the theater, he has designed sets for Roger Planchon, including Ionesco (TNP), Le triomphe de l'Amour, L'Avare (Berlin theater), Le Radeau de la Méduse (TNP), La Dame de chez Maxime (Opéra Comique) and with Jacques Rosner, Le Mariage de Gombrowicz (Comédie Française), Ivanov by Chekhov (Théâtre 14 Paris) and Gorki (Moscow). He has also worked for Garance, Marie Hermès and Simone Amouyal (Théâtre de la Criée, Marseille).

For the opera, he has designed sets for Christian Gangneron, for productions of Mozart’s Don Giovanni and Cosi fan tutte, Orfeo by Monteverdi, Carmen by Bizet (Lisbon Opera House), Pia de Tolomei by Donizetti (Fenice in Venice), Riders to the Sea by Vaughan Williams (Reims Opera House) and his latest design, Les Sacrifiées by Thierry Pécou (Maison de la Musique, Nanterre). He also worked with Philippe Godefroid for Peter Grimes by Britten (Nantes Opera House) and Simone Amouyal in the Opéra Comique. For the cinema, he has designed sets for seven films by Michel Deville, including La Lectrice and Paltoquet and Dandin by Roger Planchon. He has also worked for Roger Coggio, Eric Heumann and Marion Hansel for whom he designed the sets for four works, the last of which was Si le vent soulève les sables in 2006.

Patrick Riou, Lighting Patrick Riou began his performing arts career with choreographer François Verret. He discovered a deep passion for dance, working with the great lighting designers Rémy Nicolas, Jacques Chatelet, Pierre Colomère and others. These experiences enabled him to work in the highly diverse choreographic worlds of Joseph Nadj, François Raffinot, Karine Saporta, Kubilaï Khan Investigation, Catherine Berbessous, Philippe Genty and Angelin Preljocaj, for whom he designed the lighting for Personne n'épouse les méduses (1999), Portraits in Corpore (2000), Helikopter and MC 14/22 – Ceci est mon corps (2001), and Near Life Experience (2003).

Cécile Giovansili, Lighting Assistant Having worked with Hans Peter Cloos, Peter Brook and Alexis Moati, Cécile Giovansili joined Ballet Preljocaj in 2001. She works on the company’s creations and tours, and designed the lighting for Eldorado (Sonntags Abschied) and Haka in 2007, and And then, one thousand years of peace in 2010.

Sébastien Dué, Lighting Assistant After studying musicology, Sébastien Dué joined Ballet Preljocaj in 1998 as a lighting technician. He designs the lighting for the creations of Samir Elyamni. Photo Credits Snow White photo © Jean-Claude Carbonne; Angelin Preljocaj headshot © Rita Antonioli; Jean Paul Gaultier headshot © Jean Baptiste Mondino; Thierry Leproust headshot © Rights reserved.

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Joshua Redman & Brad Mehldau Duo Tuesday, April 10 at 7:30pm

"An almost spiritual resonance..." â&#x20AC;&#x201C; Time Magazine

Program Notes LIVE | Great Minds | 6:30pm April 10, Gerrard Hall

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jazz

apr 10

Tuesday, 7:30pm

Program to be announced from the stage. Joshua Redman, saxophone | Brad Mehldau, piano Saxophonist Joshua Redman and pianist Brad Mehldau first performed together in Redman’s acclaimed quartet during the 1990s. Since then, both Grammy-nominated musicians have reached international and critical acclaim while forging their own distinctive voices as modern jazz icons. Reuniting for an intimate performance, the duo format fosters a new convergence for these friends where they can openly create music that swings and deeply connects to the spirit.

Joshua Redman One of the most acclaimed and charismatic jazz artists to have emerged in the 1990s, saxophonist Joshua Redman, the son of legendary jazz musician Dewey Redman, has recorded more than a dozen critically acclaimed albums, earned multiple Grammy nominations and garnered top honors from DownBeat, JazzTimes, Rolling Stone and countless others. In addition to his own projects, Redman has recorded and performed with some of the world’s most distinguished musicians, including Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, Jazz at Lincoln Center Orchestra, DJ Logic, Joe Lovano, Yo-Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder and Sam Yahel. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is seen and heard in the Robert Altman film Kansas City.

Brad Mehldau One of the most lyrical and intimate voices of contemporary jazz piano, Brad Mehldau has forged a unique path, embodying the essence of jazz exploration, classical romanticism and pop allure. From critical acclaim as a bandleader to major international exposure in collaborations with Pat Metheny, Renee Fleming and Joshua Redman, Mehldau continues to garner numerous awards and admiration from jazz purists and music enthusiasts alike. His forays into melding musical idioms, in both trio (with Larry Grenadier on bass and Jeff Ballard on drums) and solo settings, have seen brilliant re-workings of songs by contemporary songwriters such as The Beatles, Cole Porter, Radiohead, Paul Simon, Gershwin and Nick Drake alongside the ever-evolving breadth of his own significant catalogue of original compositions. With his affection for popular music and classical training, Mehldau has become “universally admired as one of the most adventurous pianists to arrive on the jazz scene in years.” (Los Angeles Times) Mehldau served as curator of an annual jazz series at London's prestigious Wigmore Hall in 2009-10 and 2010-11, and Carnegie Hall announced the 2010-11 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall — the first jazz artist to hold this position since it was established in 1995.

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brad mehldau & joshua redman Stephen anderson I had been hearing about Brad Mehldau for some time, but I first encountered Mehldau’s trio while driving down a dark highway at night just north of Denton, Texas, while I was listening to the local jazz radio station — must have been sometime in the mid-’90s. I was floored. While it sounds so trite to say that “no one had ever played like that before” — a statement you might commonly come across in one of the many jazz video documentaries circulating these days — Mehldau truly was charting new territory. None of the jazz pianists that I’d been studying played with the intricate counterpoint and facility in the left hand and between the hands, and there was also a certain seriousness in the tone of his playing that was new and compelling. I immediately went out and purchased some of his recordings to try to integrate his techniques into my playing — he prolifically released eight CDs as a leader between 1995 and 2000. Of particular note are the “Art of the Trio” recordings, Volumes I-IV. Among these, Volume IV is especially stunning. At some point, Mehldau began to turn toward more contemporary tune forms (aside from his originals he had already been composing) as the basis for his improvisations. The Radio Head cover “Exit Music for a Film” (1999) and the more recent cover of Paul Simon’s “50 Ways to Leave Your Lover” (2005) reflect this tendency. Similarly, I first heard Joshua Redman in concert at the Lionel Hampton Festival in 1997 where he was one of the headliners. He would have been barely 28 at the time. Like my first experience encountering Mehldau, and though it may likewise sound cliché, I had the distinct impression that evening that I was witnessing one great musical minds of the rising generation who would fall in line with the lineage of the great saxophonists of the past — Coltrane, Rollins, Parker, etc. Joshua is the son of the legendary saxophonist, Dewey Redman. In addition to his obvious musical gifts, Joshua’s biography documents his academic brilliance. He graduated summa cum laude from Harvard University, earning a bachelor’s degree in social studies (1991). He was accepted to Yale Law School when he (fortunately) became entrenched in the New York jazz scene. I’m grateful that he did not become a lawyer. Joshua is equally adept as a composer and improviser. As a composer, Joshua has been able to formulate a style that is unmistakably modern, yet immediately engaging to a wide audience due to the soulfulness of his playing and his attention to the groove. In this light, Redman has found a way to make the blues feel and sound fresh. Thank you Carolina Performing Arts for bringing such wonderful artists to Chapel Hill. Dr. Stephen Anderson is an associate professor of jazz studies and composition at UNC. He is a Summit Records recording artist and has received two Barlow Endowment commissions for his work as a composer. His recent Nation Degeneration CD was selected to represent Summit Records at the 53rd Grammy Awards in the category of Best Jazz Instrumental Album.

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carolina performing arts 11/12

European Union Youth Orchestra with Vladimir Ashkenazy, Music Director & Conductor Friday, April 13 at 8pm

“Simply magnificent...fresh and courageous.” – L'Eco di Bergamo (Italy) Clara Yang, solo piano Carolina Choir and UNC Chamber Singers Susan Klebanow, director

Louise Toppin, soprano Andrea Edith Moore, soprano Terry Rhodes, soprano Timothy W. Sparks, tenor Maurio Hines, tenor Richard L. Banks, bass

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.

Photo by Claudia Prieler

Program Notes LIVE | Global Minds | 6:30pm April 13, Historic Playmakers Theatre

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special event

program An Outdoor Overture......................................................................................................Aaron Copland (1900-1990)

apr 13

Friday, 8pm

The EUYO Spring Tour 2012 is supported by the European Union, the 27 EU Member States, the Friends of the British Council, the British Council and the Blavatnik Family Foundation.

Fantasy in C minor for Piano, Chorus and Orchestra, Op. 80........................Ludwig van Beethoven Adagio (1770-1827) Finale Allegro – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo (quasi Andante con moto) – Presto

INTERMISSION An Alpine Symphony, Op. 64.......................................................................................Richard Strauss (1864-1949) 1. Nacht (Night) 2. Sonnenaufgang (Sunrise) 3. Der Anstieg (The ascent) 4. Eintritt in den Wald (Entering the forest) 5. Wanderung neben dem Bache (Wandering by the brook) 6. Am Wasserfall (At the waterfall) 7. Erscheinung (Apparition) 8. Auf blumigen Wiesen (On the flowery meadows) 9. Auf der Alm (On the mountain pasture) 10. Durch Dickicht und Gestrüpp auf Irrwegen (Lost in thickets and undergrowth) 11. Auf dem Gletscher (On the glacier) 12. Gefahrvolle Augenblicke (Precarious moments) 13. Auf dem Gipfel (On the summit) 14. Vision (Vision) 15. Nebel steigen auf (Mists rise) 16. Die Sonne verdüstert sich allmählich (The sun is gradually obscured) 17. Elegie (Elegy) 18. Stille vor dem Sturm (Calm before the storm) 19. Gewitter und Sturm, Abstieg (Thunderstorm, descent) 20. Sonnenuntergang (Sunset) 21. Ausklang (Epilogue) 22. Nacht (Night)

Program Notes An Outdoor Overture Aaron Copland (1900-1990) The late 1930s may have been a rough time for Americans, but it was a fertile time for composer Aaron Copland, who was at the height of his "populist" phase. After periods composing in the jazz and then avant-garde idioms, he had set out to consciously simplify his music, using folk themes and writing music for more utilitarian purposes, such as film scores or music for schools. In 1936 he wrote an opera, The Second Hurricane, to be sung by children in school performances (along with a chorus for their parents!). Alexander

Richter, director of music for the High School of Music and Art in New York City, heard a performance of Hurricane, and when he began a campaign to get more new music written for use in schools, he contacted Copland and asked him to be a part of it. The campaign, called "American Music for American Youth," would feature music that was "optimistic in tone, which would have a definite appeal to the adolescent youth of this country." Copland agreed to the project and created An Outdoor Overture, scoring both a band and an orchestral version of the piece. The work was premiered at Richter's school in December, 1938, the same year that Copland completed Billy the Kid. The two pieces share

EUYO Spring Tour 2012 Official Airline Partners:

European Union Youth Orchestra

Joy Bryer, Secretary General and Co-Founder Kim Sargeant, General Manager Benjamin Noakes, Orchestra Manager Alix de Mauny, Development and Marketing Manager Prof. David Strange, Director of Studies Columbia Artists Management LLC Tour Direction: R. Douglas Sheldon 1790 Broadway, New York, NY 10019 www.cami.com some distinct similarities, especially in the opening fanfare of the Overture. This fanfare, and an extended trumpet solo, are contrasted with a march-like theme and a lyrical melody for strings, all of which are cleverly woven into the final, joyous conclusion. Copland's contemporary, composer Elliott Carter, wrote that the work "...contains some of the finest and most personal music. Its opening is as lofty and beautiful as any passage that has been written by a contemporary composer." Written in October 2004 by Barbara Heninger

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European Union youth Orchestra naomi graber All of tonight’s pieces were composed during turbulent periods of history as composers used music to celebrate their nation and to sooth their audiences in troubled times. With the specter of Fascism lurking in the late 1930s, musicians in the United States began to abandon the European canon and search for a sound uniquely their own. At the vanguard of this quest was Aaron Copland, who combined the modernist techniques he learned in France with traditional American folk tunes. The result was music that, more than 70 years later, we still associate with Americana. An Outdoor Overture (1938) is classic Copland, with fanfares and open chords that evoke the wide open spaces of the American frontier and lyrical lines that bring to life the busy prairie day. The piece was commissioned as part of a campaign to bring American music to teenagers, and premiered by the High School of Music and Art in New York City by performers no older than those on stage tonight. 1808 was a tumultuous year for Ludwig van Beethoven. Not only was he in the throes of hearing loss, but the Napoleonic wars raged all over Europe. In the midst of this chaos, Beethoven mounted a concert of his Fifth and Sixth Symphonies, Fourth Piano Concerto and parts of his C Major Mass. As if the concert were not long enough, Beethoven hastily composed a finale that would involve all of the performers. The result was the Choral Fantasy, op. 80. The author of the text remains unknown, but this hymn to the power of nature and art stuck with Beethoven, and over 16 years later he reworked the fantasy into the famous choral “Ode to Joy” finale of his Ninth Symphony.

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In 1915, Richard Strauss was already the most famous composer in Vienna. As World War I engulfed the continent, Strauss turned inward to look for the national soul as he put the finishing touches on his Alpine Symphony. The project was inspired by his musings on the death of Gustav Mahler. Soon after Mahler’s death, he wrote in his diary, “the German nation will achieve new creative energy only by liberating itself from Christianity,” and that his new tone poem would represent “moral purification through one's own strength, liberation through work, worship of eternal, magnificent nature.” The symphony tells the story of a day in the Alps, from just before dawn to sunset, and encompasses all the grandeur, pleasure and terror of mountain life. Just like the music on tonight’s program, we are an eclectic group united by a common goal: to make music in troubled times. Like Copland’s orchestra, we are young; like Beethoven, we bring together many different kinds of people; like Strauss, we are searching for new ways of expressing ourselves as the world tries to right itself. And like the Beethoven’s anonymous poet, we believe that “When music’s enchantment reins, speaking of the sacred word, magnificence takes form, the night and the tempest turns to light.” Naomi Graber is a graduate student in musicology at UNC. In 2009, she completed her M.A. at UNC with a thesis on thematic connections in Beethoven’s late works. She is now working on a dissertation on Kurt Weill’s early American career.

Fantasia in C minor for Piano, Chorus and Orchestra, Op. 80 Ludwig van Beethoven (1770-1827) Beethoven undertook an Akademie in Vienna on December 22, 1808, in order to present some of his works that had not gained broad exposure. The program began with the previously unheard Pastorale Symphony, continued with the aria, Ah! Perfido (published 1805) and three sections from the Mass in C (translated from Latin to German in order to comply with church regulations). The Fourth Piano Concerto, also previously unheard, was performed by Beethoven himself and concluded the first half of the program. The second half contained the Fifth Symphony, the “Sanctus” from the Mass, and a piano solo. As if the musical offerings of the program were not already enough, the composer sought to assure the success of the venture by writing an entirely new composition, a “Fantasia for the pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of the chorus as a finale.” The Akademie created quite a stir; accounts of it are to be found in the memoirs of Czerny, Seyfried, Moscheles and Rheinhardt. The ill-fated event was reported in the Allgemeine Musikalische Zeitung. It seems that Beethoven, also the conductor for the occasion, became increasingly hostile toward the musicians during the rehearsals as their efficiency and support continued to deteriorate. Mlle. Killitzky, who “shivered more than sang” because of the cold temperature in the hall, made a travesty of the aria. The culminating misfortune occurred in the ill-rehearsed Fantasy, where either a wrong entrance in the orchestra or a misunderstanding about a repeat brought total chaos. To the chagrin of all concerned, Beethoven stopped the performance, called out directions from the keyboard and, after a moment of strained silence, resumed. The concert, with its many treasures, is perhaps the most flagrant of the many instances in history where music of imperishable value has make its initial bow in a confused and unrewarding performance, to a listless and unsuspecting public. Problems in the performance notwithstanding, this event was historic not only in terms of music presented but also in that, tragically, it would mark Beethoven’s last public appearance as a concert pianist before the onset of deafness which ended his virtuoso career. The Fantasia was completed in somewhat of a hurry in order that it be ready for the Akademie performance. Point in fact, Beethoven extemporized the opening C minor section of the work for the December 22 performance,

notating it at a later time. The opening section has a majestic character and serves as a prelude to a set of variations for orchestra and piano that follow. The variations, extensive and elaborately developed, are based on a theme that is an incipit of an earlier song of Beethoven’s entitled Gegenliebe. Following a brief transitional passage, the finale of the Fantasia featuring the chorus occurs. The chorus performs a setting of a text that is generally ascribed to the poet-dramatist Christopher Kuffner entitled Schmeichelnd und Lieblich (“Beguiling, sweet and lovely is the resonance of our life’s harmonies”). © 2001 Columbia Artists Management, Inc.

An Alpine Symphony, Op. 64 Richard Strauss (1864-1949) There was a time when the music of Richard Strauss was the source of great controversy. At the end of the nineteenth century, when the successors of Liszt and Wagner were probing the possibilities of new musical means and were discovering new potentials of expressiveness in music, Strauss was in the vanguard of the creative search – the tone poems Don Juan, Till Eulenspiegel, Also sprach Zarathustra and Ein Heldenleben, just to mention the most popular ones, were composed before 1900; the highly dissonant operas Salome and Elektra appeared during the first decade of the twentieth century. Although Strauss later chose to follow a more moderate course, leaving the more telling innovations to Schoenberg, Stravinsky, et. al., he nevertheless created works in a variety of media which established him as one of the most significant composers of his time. Paradoxically, many of the works that were the subjects of the most heated controversy have since come to be recognized as the masterpieces most representative of his genius. Such can be said to be the case with Ein Heldenleben, the Symphonia domestica and Eine Alpensinfonie, the last of his large-scale tone poems. Almost a decade after having completed the Symphonia domestica, Strauss embarked on one last tone poem, An Alpine Symphony. The idea first came to him after his experience as a fourteen-year-old, in August 1878, when he undertook a trip into the Bavarian Alps, described thus in his diary: "Depart at two in the morning with handcart, five-hour ascent; as a result of losing our way, a steep, five-hour backtrack downhill off the path; twelve-hour march in all, towards the end soaked to the skin with rain and storm. Then an unplanned stop for the night in a farm house." He later wrote to his friend Ludwig Thuille: "The next day I illustrated

the whole outing on the piano. Naturally, it was all monstrous tone painting and rubbish (after Wagner)..." Sketches derived from this youthful piano fantasy still survive; although they show a much different work in its four-movement structure, they engendered some of the themes employed later in the Alpine Symphony. In 1911, inspired by the view of the Alps from the study window in his villa in Garmisch, as well as by his boyhood experience, Strauss began sketching An Alpine Symphony while between two operatic projects; he had just completed Der Rosenkavalier and was about to start working on Ariadne auf Naxos. In a letter to his librettist, Hugo von Hofmannsthal, he wrote: "I am waiting for you, and meanwhile torment myself with a symphony which actually however gives me less enjoyment than shaking June bugs out of a tree." (Fortunately for musicians and audiences alike, the composer was merely being facetious, or his apparently deprecating opinion of the work must have changed, for the task was not abandoned.) The completion of the opera then took precedence and the symphony remained incomplete for several years. In the last months of 1914, while at work on another opera, Die Frau ohne Schatten, Strauss returned to the Alpine Symphony, completing the orchestration by February of 1915, in a mere three months. In yet another letter, the composer confided, "Now at last I have learned how to orchestrate." While there is no doubt that his previous orchestral works are proof positive of the composer's masterly technique of instrumentation, in an age of large, "Mahlerian" orchestras, Strauss certainly outdid himself in this work. The orchestration for An Alpine Symphony requires four flutes (two doubling on piccolo), three oboes (one doubling on English horn, and another doubling on heckelphone – a "baritone-like" oboe), four clarinets (one playing on an E-flat clarinet, another doubling on bass-clarinet), four bassoons (one doubling on contra-bassoon), eight horns, four trumpets, five trombones, two tubas, two sets of timpani, a large battery of percussion instruments (including glockenspiel, cymbals, bass drum, snare drum, triangle, cowbells, and tamtam, and requiring four players), two harps, celesta, organ and a large complement of strings. In addition, the score calls for an off-stage ensemble of 12 horns, two trumpets and two trombones, plus such exotica as a wind machine (which Strauss had invented for Don Quixote), a thunder sheet (one which Strauss devised for this work) and the optional use of aerophones (a device permitting woodwind carolina performing arts 11/12

Continued from page 29.

instruments to sustain long notes through a bellows operated by foot and attached to the instrument by a rubber tube). The premiere performance of An Alpine Symphony took place in Berlin, on October 28, 1915, with the composer conducting the Dresden Court Orchestra. The work was dedicated to the orchestra as well as to Count Nicolaus Seebach, Intendant of the Dresden Court Opera. It was the Dresden Court opera that had mounted the first productions of Strauss' operas Feuersnot, Salome, Elektra, and Der Rosenkavalier. With his dedication, Strauss meant to thank the enlightened Count for his support and willingness to perform Strauss' operas – especially in view of the fact that his first opera, Guntram, had been a failure and the next two, Feuersnot and Salome, had been somewhat risqué in their dramatic content. The dedication was also a way of thanking the orchestra for having always realized his intentions brilliantly in operatic scores that were exceedingly difficult and complex for the orchestra. While the composer used the word "symphony" in his title, the work – in one continuous movement – takes the form of a gigantic symphonic poem describing incidents and experiences during a day in the Alps. It is a monumental piece of nature painting with its pantheistic exaltation often expressed in simple diatonic terms, merging pictorialism and "absolute" music into a seamless structural unity. The twenty-two sections of the work are elaborated thematically as a single sonata-allegro structure. Each section has its own descriptive subtitle in the score, and is quoted here in italics. The work begins with an introduction that comprises the first two contrasting, yet complementary, sections. Night is represented by a descending B minor scale on bassoon and strings. Upon their descent, the strings are much divided, and against the ensuing chord containing all the pitches in the scale, the trombones and tuba intone the theme that will represent the mountain throughout the work. The tranquility of night soon starts to dissipate; with much rustling from all the instruments, nature starts to wake and with an imposingly glorious unison fortissimo, the full orchestra announces the Sunrise. After a pause, the strings introduce the energetic and strongly rhythmic "wandering" theme of The ascent. Hunting horns in the distance precede the Entering the forest, with its proclamatory theme (alternating long notes and triplets), introduced by horns and trombones, and the birdcalls of the E-flat

clarinet, flutes and oboe. The "wandering" theme is heard on bassoons, solo horn, cellos and basses as the imaginary protagonist is seen Wandering by the brook; the flowing sixteenth-note figurations of the brook become more turbulent as we arrive At the waterfall, which is represented by the glittering, cascading arpeggios, glissandos and descending scales of high woodwinds, harps, celesta and strings. The cellos are again heard "wandering" On the flowery meadows, the flowers being represented by the colorful dabs of woodwinds. In the mountain pasture we hear the cowbells against the birdcalls of piccolo and oboes and the yodeling oboes, English horn, clarinets and bassoons. The protagonist soon finds himself Lost in thickets and undergrowth as the many themes and motifs are heard fugato in dense and confused counterpoint. A chilling, halting theme in the oboes, clarinets and trumpets announces the protagonist's arrival On the glacier. The same theme in fragmentation is heard in combination with repetitious chromatic scales, as he faces Precarious moments. Against the nervous tremolo of the strings a solo cello tries to assert the "wandering" theme but is interrupted by the halting "glacier" theme in a solo trombone, followed by a solo trumpet. As the trombones triumphantly ascend in intervals of fourths and fifths, we are finally On the summit. The breath-taking beauty of the scene is expressed in a simple, awe-inspiring melody for solo oboe, expanded upon by the strings. Trumpets and trombones play the "mountain" theme followed by an impassioned theme in the horns, proclaiming the majesty of the summit and then by the sun motif in the entire orchestra. The next section, Vision, provides the central climax of the work; with abrupt changes of harmony, the main themes are all heard against each other. Following a fortississimo statement of the "mountain" motif in the brass against the ascending line of the woodwinds, violins and violas, two short, quiet sections then ensue: Mists rise with the rising scales in the strings, and The sun is gradually obscured as its theme is heard delicately scored and in the minor mode. The Elegy that follows further transforms the "sun" theme as the sky keeps darkening. In the Calm before the storm, the once-awe-inspiring oboe melody is now heard, forebodingly fragmented, alternating between the clarinet, the English horn, the flute and the bassoon, while the few remaining birds quickly take cover. With the descending "night" chord from the beginning of the work, the sky is completely darkened,

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the wind starts to pick up and the first drops of rain begin to fall (short, detached notes on flutes, oboes and pizzicato violins). When the Thunderstorm begins full force, the protagonist also begins his Descent; in this second development section, the main themes are again tossed against each other, with particular prominence of the inversion of the "ascent" theme. Finally, the rain gradually stops, and the sky brightens momentarily with the "mountain" motif, only to give way to the Sunset, as the majestic "sun" theme is heard in augmentation. The serene Epilogue provides an abbreviated recapitulation as the themes of the descent, the sun, and the view, and finally the "ascent" theme are magically woven together to form a lasting memory. Night finally arrives once more with its descending B-flat scale; the "mountain" theme is heard once more in the brass and, as if in a dream, the "ascent" theme unfolds slowly one last time, bringing us to the quiet conclusion. © 1996 Columbia Artists Management Inc.

European Union Youth Orchestra The European Union Youth Orchestra (EUYO) unites Europe’s most talented young musicians under some of the world’s most famous conductors in an orchestra that transcends cultural boundaries and performs all over the world to the highest international standards. The Orchestra is composed of up to 140 musicians who are drawn from all 27 Member States of the European Union, from Finland in the north to Malta in the south, from Cyprus in the east to Portugal in the west. The players are selected from thousands of candidates aged between 14 and 24, who take part in annual auditions throughout the EU. The experience the EUYO provides for its young musicians is not only socially stimulating and culturally enlightening, it is invaluable to their future careers: Over 90% of alumni go on to successful professional careers in music. The EUYO was founded in 1976 by Bostonian Joy Bryer and her husband Lionel, with a view to creating an ensemble that would represent the European ideal of a community working together to achieve peace and social and cultural understanding. Maestro Claudio Abbado, the Orchestra’s Founding Music Director, established the EUYO as a worldclass institution, with the support of its first president, Sir Edward Heath. Claudio Abbado was succeeded as music director in 1994 by Bernard Haitink, who in turn was succeeded in 2000 by the EUYO’s present music director, Vladimir Ashkenazy.

The level demanded of the players, combined with the renowned musical leadership of the orchestra’s conductors, has earned the EUYO an outstanding musical reputation and regular comparisons with the world’s finest orchestras. Throughout its history, the EUYO has acted as a Cultural Ambassador for the EU, showcasing young Europe’s musical talents across the globe.

Vladimir Ashkenazy One of the few artists who has combined a successful career as a pianist and conductor, Russian born Vladimir Ashkenazy inherited his musical gift from both sides of his family: his father was a professional pianist and his maternal grandfather a violinist and chorus master in the Russian Orthodox church. Ashkenazy came to prominence on the world stage in the 1955 Chopin Competition in Warsaw and as first prize winner of the Queen Elisabeth Competition in Brussels in 1956; since then he has built an extraordinary career as one of the most renowned pianists of our time and as an artist whose creative life encompasses a vast range of activities and offers inspiration to music-lovers worldwide. Conducting has formed the largest part of his activities for the past 20 years; he became Principal Conductor and Artistic Advisor to the Sydney Symphony Orchestra in January 2009 and collaborates with them on extensive recording projects and international tours each year. Ashkenazy continues his longstanding relationship with the Philharmonia Orchestra, of which he was appointed Conductor Laureate in 2000, with performances in London and around the UK each season. They regularly embark on worldwide tours — most recently to China and Korea — and have undertaken projects such as ‘Prokofiev and Shostakovich Under Stalin’ in 2003 and ‘Rachmaninoff Revisited’ in 2002. The latter was reprised in Paris in October 2010. Ashkenazy holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra and NHK Symphony Orchestra. He maintains strong links with major orchestras including the Cleveland Orchestra and Deutsches Symphonie Orchester Berlin, as well as making guest appearances with leading ensembles all over the world.

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Ashkenazy also maintains his devotion to the piano, these days mostly in the recording studio, where he continues to build his recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Bach's Wohltemperierte Klavier, Rachmaninov Transcriptions and Beethoven’s Diabelli Variations. A recording of French works for piano duo with Vovka Ashkenazy was released in August 2009 to great critical acclaim, and the duo gave concerts in Japan and South Korea in autumn 2011.

Clara Yang Praised by Peninsula Reviews for her "superb technique and extraordinary musical understanding,” Clara Yang has performed in venues including the Weill Hall at Carnegie Hall, Remonstrantse Kerk in the Netherlands, the Seymour Centre in Sydney, the Irvine Barclay Theater, the Kodak Hall at the Eastman Theater, and the Sunset Center in Carmel, among others. Upcoming performances include concertos with the North Carolina Symphony under Grant Llewellyn and a solo recital as part of the Dame Myra Hess Memorial Concert series, which will be broadcast live on 98.7 WFMT from the Chicago Cultural Center. Past concerto highlights include performances with the Pacific

Symphony Orchestra under Carl St. Clair, the Eastman Philharmonia under Jeff Tyzik, the St. Andrew Chamber Orchestra, and the Saratoga Symphony Orchestra, among others. Last summer she had a solo recital tour in China, performing in several major conservatories. She has performed in renowned music festivals including the Music Academy of the West, the Sarasota Music Festival, the International Holland Music Sessions and the Aspen Music Festival. Her recording on the Ullanta Artists label is featured on Lowell Liebermann's official website. An avid chamber musician, Clara has collaborated with members of the Los Angeles Philharmonic, the San Diego Symphony and the Hong Kong Philharmonic. Dr. Yang joined the faculty of The University of North Carolina at Chapel Hill in 2011. A student of renowned teachers Nelita True, Claude Frank and John Perry, she received degrees from the Eastman School of Music (DMA Piano Performance), Yale School of Music (MM, Artist Diploma), and University of Southern California (BM, magna cum laude). At Yale, she also studied chamber music with David Shifrin, Peter Frankl and the late Jesse Levine. Her formal principal teachers include Profs. Hans Boepple, Guangren Zhou, and Huili Li. As a sought-after teacher, Dr. Yang has frequently given masterclasses and recitals in the U.S. and abroad. She was selected

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for inclusion in Who’s Who Among Fine Arts Higher Education. Her students have been state and national prizewinners.

Carolina Choir and Chamber Singers The Carolina Choir and Chamber Singers are the UNC Music Department’s highly select choral ensembles. Carolina Choir’s repertoire ranges from a cappella music of all periods to the choral and orchestral masterworks. The 25-voice Chamber Singers perform a wide range of vocal chamber music, with emphasis on Renaissance, Baroque and 20th/21st century music. The two ensembles often join forces for important musical occasions. Under the direction of Professor of Music and Director of Choral Activities Susan Klebanow, they have recently performed together in the Monteverdi Vespers, Tallis’ Spem in alium, Schoenberg’s Friede auf Erden, the Brahms Deutsches Requiem with the UNC Symphony, and J.S. Bach’s Mass in B minor with Ensemble Courant, UNC’s original instrument ensemble. Carolina Choir and Chamber Singers have each premiered numerous new works, and have collaborated in performance with renowned conductors Dennis Russell Davies, Rachael Worby, David Berger, Andrew Litton, James Gaffigan, and Gerhardt Zimmerman.

For four years, Carolina Performing Arts has provided support for the Process Series – a collaborative effort with University departments and programs such as the departments of Communication Studies and Dramatic Art, the Institute for Arts and Humanities, the Teatro Latina/o Series and others. From the very beginning, the Process Series has been dedicated to providing a positive, generative atmosphere at UNC for artists in the throes of creating important new work and, in so doing, illuminating the creative process for our students and our community. In an ongoing effort to open the dialogue and share experiences with as many people as possible, all events are free and open to the public. This season opened with a remarkable work-in-progress by two UNC students, one past, one present. Kane Smego and Will McInerney, co-directors of the Sacrificial Poets, travelled to Egypt and Tunisian, along with translator, co-writer and videographer Mohammad Mousa. On their return, they created a remarkable mixed-media performance, Poetic Portraits of a Revolution. During their Process Series residency, an extraordinary amount of work came together to create a terrifically moving first-person account of their experience of the Arab Spring. The work was warmly received by an eager and diverse audience and has a promising future, as it premieres in March at The ArtsCenter in Carrboro and will continue to tour. Every season we find that among the most thrilling evenings of the Process Series are based on works from our students and recent graduates. Poetic Portraits of a Revolution gave us one of those evenings. The 2012 selections demonstrate the extraordinary potential of interdisciplinary and hybrid works from spoken word and documentary, to theater and digital media; rock ’n’ roll and non-fiction prose, to puppetry and myth. This spring, we celebrate four staged readings of new theatrical translations from writers and translators from all over the world as part of a conference on the art of translation in April. And, in May, we partner with Playmakers Repertory Company and bring to Chapel Hill the nationally renowned SITI Company for a performance of Who Do You Think You Are. It is always with pride and excitement when we see works become fully realized productions across the globe. Mark Bamuthi Joseph’s hybrid work, red, black, and green: a blues, seen last season, opens this October at Yerba Buena Arts Center in San Francisco and will tour nationally. You are Dead. You are Here, a collaborative project of Christine Evans, Jared Mezzocchi and myself is continuing development in the HERE Arts Residency Program in New York and had its New York City preview in January during the Culturemart festival. I hope you will join us in 2012. The Process Series works are always a surprising and engaging experience. Find out more at carolinaperformingarts.org/process-series, or contact Joseph Megel at (919) 843-7067 or megel@email.unc.edu and become a part of the conversation. carolina performing arts 11/12

Saturday, April 14 at 8pm

“A rare talent...” – The Times, UK

Program Notes LIVE | Great Minds | 7pm April 14, Gerrard Hall

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❉

Cheikh Lô

world music

Apr 14 Saturday, 8pm

Program to be announced from the stage. Cheikh Lô One of the great mavericks of African music, Cheikh Lô is a singer and songwriter as well as a distinctive guitarist, percussionist and drummer, personalizing and distilling a variety of influences from West and Central Africa to create a style that is uniquely his own. Born in 1955 to Senegalese parents in Burkina Faso, he grew up listening to all kinds of music, including Congolese Rumba and Cuban music. In 1981, he moved to Dakar, playing drums for the renowned singer Ouza before joining the house band at the Hotel Savana. In 1984, he moved to Paris and worked as a studio session drummer. Youssou N’Dour discovered Lô as a session singer in 1989 and in 1995 he produced Cheikh Lô’s album Ne La Thiass, joining him on vocals. Lô’s second album, Bambay Gueej, was co-produced by Nick Gold and Youssou N’Dour. His 2010 World Circuit

release, Jamm, released the following year on Nonesuch, features his signature blend of semi-acoustic West and Central African, Cuban and flamenco flavors. Lô dedicates his life and music to Baye Fall, a form of Islam specific to Senegal and part of the larger Mouridism movement. Established by Cheikh Ahmadou Bamba M’Becke at the end of the 19th century, Mouridism emerged from opposition to French colonialism and many fabulous stories are told of Bamba’s struggles with the authorities who feared that the rapid spread of Mouridism would inspire armed insurrection. Bamba’s closest disciple Cheikh Ibra Fall (also known as Lamp Fall) established the Baye Fall movement, and he was the first to wear the patchwork clothes and long dreadlocks that are still Baye Fall trademarks today. Cheikh Lô’s own marabout, Maame Massamba N’Diaye, is said to be over 100 years old, and was a disciple of Cheikh Ibra Fall; Cheikh Lô wears his picture in a pendant around his neck.

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The Göteborg Ballet Tuesday, April 17 at 7:30pm

“Emotional and energetic power”

Falter, The Göteborg Ballet. Photo: Urban Jörén

– Times Union

Program Notes LIVE | Great Minds | 6:30pm April 17, Historic Playmakers Theatre

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dance

ApR 17

Program

Tuesday, 7:30pm

Beethoven’s 32 Variations in C minor and Piano Sonata No. 8 in C minor, Op. 13, “Pathétique,” 2nd movement

Örjan Andersson, Choreographer Dancers Mariko Kida Hildur Óttarsdóttir Hlín Diego Hjalmarsdóttir Janine Koertge David Wilde Toby Kassell Anthony Lomuljo Hokuto Kodama Joakim Kallhed, piano

OreloB

Kenneth Kvarnström, Choreographer Dancers Janine Koertge Erik Johansson Anthony Lomuljo Fernando Melo Micol Mantini

INTERMISSION Falter

Johan Inger, Choreographer Dancers Satoko Takahashi Chiaki Horita Mariko Kida Micol Mantini Lea Yanai Hlín Diego Hjalmarsdóttir Moritz Ostruschnjak Jérôme Delbey Fernado Melo Hokuto Kodama

Program Notes Beethoven’s 32 Variations in C minor and Piano Sonata No. 8 in C minor, Op. 13, “Pathetique” 2nd movement Beethoven wanted to dedicate his heroic symphony to Napoleon, but when Napoleon named himself Emperor, Beethoven believed he had distanced himself from his earlier high humanistic ideals. Beethoven himself was the subject of intense worship after his death. He was one of the first free artists and — due to increasing deafness — surrounded by increasing silence. Instead he listened to his inner self, to the musical creativity of his soul. Like a theme with many variations, Beethoven has been interpreted in many different ways. His music is now interpreted afresh through the work of Örjan Andersson’s contemporary choreography. Örjan Andersson is one of Sweden's foremost contemporary choreographers and is known for his individual, visually sharp style with a strong musicality. He has created pieces for his own dance company Andersson Dance, The Cullberg Ballet, Nederlands Dans Theater 1 and Compañia Nacional de Danza, among others. This was his third piece for The Göteborg Ballet. Örjan Andersson, Choreographer Nina Sandström, Costume design Udo Haberland, Lighting design

Music Ludwig van Beethoven (1770-1827) World Premiere: Dec. 18, 2010, Göteborg for The Göteborg Ballet Joakim Kallhed, piano

OreloB Four originators, five dancers, all must have trust, both in the fall and in the lift. They are components in a musical motor that was once invented by a Frenchman fascinated by mechanics, Maurice Ravel. His Boléro beats somewhere in the background of Rintamäki´s sound picture, whose volume just grows, interrupted by a wedge, or rather a gleam, of bell sounds. The costumes, set design and light quote the rhythmic core motif – in graphic shapes on a reflector, in a collar’s creases and carolina performing arts 11/12

folds, garments that can take the shape of a bolero, a magical flower, or more industrial: cogwheels. Unfolding, increasing, folding, a growing volume alongside a rhythm where bodies are united in a motoric musicality, both monumental and divinely light. OreloB was created for The Göteborg Ballet in 2008.

Kenneth Kvarnström, choreographer In 1987, K. Kvarnström & Co was created, a production-based dance company whose

objective was to produce and tour with one production per year. The company has performed on all continents except South America and Australia. In addition to creating choreography for his own company, Kenneth Kvarnström has also produced a number of other productions and taken part in a long line of cooperative partnerships. Between 2004 and 2007 he took a break from choreography to take up the position as Artistic Director of Dansens Hus (The House of Dance) in Stockholm. OreloB, created for The Göteborg Ballet in 2008, was his first new

production in six years. The driving force behind Kvarnström’s choreographic work is the wish to find and work with the inherent musicality of movement. A flow is created through movement sequences of varying length, linked together in constellations created by one, two, three or more dancers. Kenneth Kvarnström, Choreographer Jens Sethzman, Set design and lighting design Helena Hörstedt, Costume design

Music Composed by Jukka Rintamäki, based on Boléro by Maurice Ravel World Premiere: April 26, 2008, Göteborg for The Göteborg Ballet

Falter Johan Inger takes us on an exploratory journey from chaos to order with nine dancers, 64 ropes and music by Alva Noto and others. His suggestive Falter moves from the fleeting to the permanent; from frenzy to a peaceful calm. Falter describes a world where nothing is constant. Our struggle to adjust to external and internal changes is ongoing; all we can do is to start anew. In a forest of ropes, man has fallen and explores how to rise again. Bodies flicker by in the glow of lights in a series of short meetings. As the context unfolds and music changes the ensemble of nine unite in energy, intensity, harmony, seeking a kind of acceptance. The former artistic director of The Cullberg Ballet and current resident choreographer at Nederlands Dans Theater (NDT) has created his first production exclusively for The Göteborg Ballet. Johan Inger made his breakthrough as a choreographer in 1995 after a very successful dance career including the Royal Ballet in Stockholm and Nederlands Dans Theater (NDT). Inger’s choreographies have won awards in the Netherlands, Scotland and Italy. From 2003 to 2008 he was the Artistic Director of Cullberg Ballet and in 2006 he was awarded the Birgit Cullberg Scholarship. Since 2009 he has been resident choreographer for NDT. Johan Inger, Choreographer, Set and costume design Carolina Armenta, Costume design assistant Erik Berglund, Lighting design

Music: Alva Noto: Particle 1 and 2 From the album UTP (Raster-Noton, 2009. Publisher: Bonniers)

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Lars Åkerlund: Excerpt from Rivers of Mercury Peter Levin: Snow by the Lake World Premiere: May 8, 2010, Göteborg for The Göteborg Ballet

The Göteborg Ballet The Göteborg Ballet is the largest contemporary dance company in the Nordic countries, housing 39 outstanding dancers from 16 countries. In recent years, the company has focused on new creations by contemporary choreographers. Creations by Sasha Waltz, Wim Vandekeybus, Stijn Celis, Örjan Andersson, Jo Strömgren, Johan Inger, Roberto Zappalà, Susanna Leinonen, Helena Franzén and Gunilla Heilborn are a part of their repertoire, complemented during 2012/2013 by the work of renowned artists such as Marie Chouinard, Sharon Eyal, Franck Chartier and Peeping Tom. The Göteborg Ballet loves artists who walk untrodden pathways, question genre-divisions, open hidden doors and enter the unchartered space between body and stage. The Göteborg Ballet is aimed at an audience curious to learn, regardless of age. Its artistic vision and work is about taking risks, aesthetically and physically, as well as breaking down barriers. Contemporary presence, credibility, curiosity, diversity and recognition are our key words.

Adolphe Binder, Artistic Director Adolphe Binder is the Artistic Director of The Göteborg Ballet, starting in 2011/2012. She was previously Artistic Director and administrative Director of the Berlin Ballet at Komische Oper and chief dramaturge of the dance company of the Deutsche Oper in Berlin. She has also worked as curator and program director for international dance festivals and World Expo 2000 in Hannover. Adolphe Binder is the founder of Binder & Partners Creative Productions.

CREATE PRESENT CONNECT

THE gÖteborg ballet laurie yeames I am the ballet professor here at UNC. You may not know that UNC has an assortment of dance classes available. One has to search the adapted physical activity (PHYA) courses to find them. But for a University that does not have a minor in dance, we certainly keep busy as if we did. The dancers that enroll in ballet tend to re-register every semester, and we have become quite a close community on campus. There are more than 40 student-run dance companies with performance opportunities here at UNC. We are grateful to Carolina Performing Arts that we have such a wealth of professional dance companies at our doorstep performing at Memorial Hall. Our students have been fortunate enough to participate in masterclasses from every company that rolls through — from Alvin Ailey American Dance Theater to Cedar Lake Contemporary Ballet to Nederlands Dans Theater I, as well as a residency with The Göteborg Ballet, performing here tonight. UNC dancers been exposed to ballet, modern, classical Indian dance and have been able to interact with cutting-edge companies from around the globe. UNC dancers are keenly aware that at this time in their lives they have the opportunity to have their minds open and exposed to the world of dance that is beyond our campus doorstep. To Emil Kang and the staff at Carolina Performing Arts, we bow in gratitude. It is indeed an honor to have The Göteborg Ballet in Chapel Hill. They are considered to be one of the most diverse creative contemporary companies in the world. Laurie Yeames is a dance specialist in classical ballet in the Department of Exercise and Sport Science.

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♥

Béla Fleck & the Original Flecktones Wednesday, April 25 at 7:30pm

“Bluegrass from one of the outer rings of Saturn.” – Los Angeles Times The performance by Béla Fleck & the Original Flecktones is supported by a gift from Robert H. and Jane McKee Slater in memory of their parents, who encouraged the love of joyful American music.

Program Notes LIVE | Great Minds | 6:30pm April 25, Historic Playmakers Theatre

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roots Program to be announced from the stage. Béla Fleck, banjo Howard Levy, piano/harmonica Victor Wooten, bass Roy “Futureman” Wooten, percussion/Drumitar Béla Fleck & the Original Flecktones Groundbreaking banjoist/composer bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. “There were a lot of unfinished aspects to this line-up of the band,” Fleck notes, “in that it stopped right when we were peaking creatively.”

One thing was certain, however. The original Flecktones were resolute that their reunion would not be rooted in nostalgia. The goal from the get-go was to drive the music forward to places where it might have progressed had things gone differently. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/Drumitarist Roy “Futureman” Wooten. Far from being a wistful trip back in time, the album sees the Grammy-winning quartet creating some of the most forward-thinking music of their long, storied career. While all manner of genres come into play — from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances — the

roots

Apr 25

Wednesday, 7:30pm

result is an impossible-to-pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. While prior Flecktones collections have often featured inventive and innovative instrumentation, this time the band opted to stick to the basics. Fleck plays an assortment of banjos, mostly vintage, though an electric Deering Crossfire can be heard on “Prickly Pear” and a prototype 10-string banjo is featured on “Joyful Spring.” For his part, Wooten largely bypassed his famed assortment of bass effects, noting that the player is what truly matters. Visionary and vibrant as anything in their already rich canon, Rocket Science feels more like a new beginning than the culmination of an early chapter.

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spotlight wyndham robertson The arts have been integral to Wyndham Robertson’s experience at the University of North Carolina at Chapel Hill since she visited campus in 1986. Recently, Robertson recalled the day she interviewed for the position of Vice President for Communications at UNC, a role she would go on to hold for 10 years. “It was April, and you could smell the freshly cut grass. Since there was no air conditioning at Memorial Hall, all of the windows were open. There was a concert going on inside and as I walked past, beautiful music flowed out through the windows and on to the campus. It was magical.” Many concerts later, the experience of a Memorial Hall performance remains just as special. When asked what makes this hall unique, she says “It’s the intimacy of the theater. If you were going to design a hall today from scratch, it would be twice this big.” In 2005, when Memorial Hall was transformed (and, to the relief of many, air conditioning finally installed), Robertson was one of the first to join Carolina Performing Arts’ efforts to integrate the arts into the campus and greater community. “She’s one of only a handful of people who have been there from the beginning,” says Executive Director for the Arts Emil Kang. As a founding member of Carolina Performing Arts’ National Advisory Board, Robertson has played a vital role in bringing the very best artists from around the world to the Memorial Hall stage from the Bolshoi Ballet and Nederlands Dance Theater to Orchestre Révolutionnaire et Romantique.

When asked about Robertson’s interest in the arts, Kang explains “She’s someone who loves classical music and Lady Gaga. Her passion encompasses a broad spectrum of artists and genres.” It’s not surprising then to learn that she has been one of the earliest and strongest supporters of Carolina Performing Arts’ most ambitious project yet, The Rite of Spring at 100, a centennial celebration of Igor Stravinsky’s revolutionary ballet score. To commemorate the 100th anniversary of its 1913 ground-breaking premiere, CPA has commissioned 12 new works that re-imagine the original work, its role in shaping the modernist aesthetic and its pervasive impact on

But what is so important about The Rite of Spring? “As Emil explains it, people had come to understand a sort of music where you could anticipate the next note,” says Robertson. “Stravinsky challenged this tradition by creating music that was unpredictable, that sort of played with your mind…It opened the door for so many changes in music and other art forms.” With The Rite of Spring at 100, Carolina Performing Arts hopes to open another door — one designed to transform the role of the performing arts on campus and beyond. In addition to presenting new works, the project will include academic conferences in Chapel Hill and Moscow, artist residencies,

“Stravinsky challenged this tradition by creating music that was unpredictable, that sort of played with your mind…It opened the door for so many changes in music and other art forms.” art today. The project features internationally renowned artists such as choreographer Bill T. Jones, theater director Anne Bogart and Yo-Yo Ma and the Silk Road Ensemble, many of whom are collaborating across disciplines.

carolinaper formingar ts.org // (919)843-3333

workshops, master classes and many other opportunities that bring together artists, scholars, students and community members. To learn more about The Rite of Spring at 100 and join Robertson in supporting this exciting project, visit carolinaperformingarts.org/rite100.

Impact. Make One Today.

Maybe you are a scholar, student, or seasoned patron of the arts who appreciates the value of this exceptional university venue and embraces our commitment to keeping performing arts as one of the pillars of the educational experience at Carolina. Whatever your relationship with Carolina Performing Arts may be, there are many important ways in which you can help sustain this special place and its programs for future generations. Since its founding in 2005, Carolina Performing Arts has benefited from the generosity of countless benefactors who have chosen to support the arts at Carolina. Your gift will help us carry on to inspire future generations. Ticket revenues account for only 45% of the total cost of putting on a performance. The University continues to generously support us, but state funds continue to shrink and competing priorities continue to grow. To provide the same level of programming you’ve come to enjoy, we need your support.

We need you to join the friends and supporters listed on the pages that follow in making a gift to Carolina Performing Arts. Make an impact today. You make a living by what you get. You make a life by what you give. – Winston Churchill

NATIONAL ADVISORY BOARD

CAROLINA PERFORMING ARTS SOCIETY

The Carolina Performing Arts National Advisory Board of alumni and friends guides and champions a shared vision of Carolina as the nation’s leading university in the arts. It is with profound gratitude that we thank these outstanding and generous volunteers.

The Carolina Performing Arts Society supports the University’s commitment to invite outstanding professional artists to perform and to teach; to foster a deep appreciation of a wide variety of the performing arts in the University, in the local community, and throughout the region; and to establish Carolina as a national leader in the performing arts.

Thomas F. Kearns Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair 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 Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josephine Patton, Chapel Hill Earl N. Phillips, Chapel Hill Wyndham Robertson, Chapel Hill Sharon Rothwell, Ann Arbor, MI Chancellor Holden Thorp, Chapel Hill, ex-officio Douglas Zinn, Chapel Hill

CAROLINA PERFORMING ARTS ENDOWMENT Through a generous $5 million challenge grant from the William R. Kenan, Jr. Charitable Trust made in 2005 and the inspirational leadership of the Carolina Performing Arts Society National Advisory Board, generous donors enabled us to meet that challenge by the challenge deadline in 2007. Carolina Performing Arts has pressing needs to fund the difference between our ticket income and the actual cost of presenting our series. Right now, tickets provide only about 45% of the total cost of presenting artists on our stages. The best way to ensure financial viability is to build a permanent source of future funding through our endowment. Whether it’s through naming a seat ($5,000 gift), creating a named fund ($100,000 minimum) or making a deferred estate commitment, your endowment gift will guarantee the excellence, variety and breadth of programming, the student outreach, and the investment in new creations that have become the hallmark of Carolina Performing Arts.

Society members enjoy a variety of special privileges. Annual membership begins at $125. We want to make your Carolina experience richer, more convenient, and more fun! Performance Benefactor: $15,000 and above The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or family who has the opportunity to select and dedicate a particular performance. Carolina Performing Arts will thank you for your generous gift by providing: • • • • •

All Carolina Performing Arts Society benefits including valet parking and invitations to special events throughout the season, as described in The David Lowry Swain Society Recognition in the season ticket brochure distributed throughout the year Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance Acknowledgment in the donor list for the season and an insert in the performance program that evening Opportunity to meet the artist following the performance (when the artist is available)

The David Lowry Swain Society: $10,000-$14,999 The David Lowry Swain Society offers first class benefits throughout the year to those donors who generously contribute $10,000 or more to the Carolina Performing Arts Society annually. All benefits listed for Platinum Tier, plus: • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area reserved for Swain Society members only • Access to exclusive VIP/Stage Door entrance • Personal coat check at the VIP/Stage Door entrance • Opportunity to name two seats in Memorial Hall • Exclusive access to the Swain Society Concierge Desk at (919) 843‑2231 for assistance with difficult-to-acquire tickets for all Carolina Performing Arts performances • Assistance with requests for special tours and rental of Memorial Hall for special functions Platinum Tier: $5,000-$9,999 All benefits listed for Gold Tier, plus: • Use of the Pamela Heavner Gallery for your own private reception • Opportunity to name a seat in Memorial Hall Gold Tier: $2,500-$4,999 All benefits listed for Silver Tier, plus: • Complimentary reserved parking • Receptions in the Pamela Heavner Gallery during intermission at each Carolina Performing Arts series performance • Private tours • Exclusive travel opportunities Silver Tier: $1,000-$2,499 All benefits listed for Sponsoring Members, plus: • Opportunity to purchase single tickets in advance of the general public • Complimentary parking passes for nearby lot • An invitation to the season preview reception • Priority seating for subscriptions to Carolina Performing Arts Sponsoring Member: $125-$999 • Advance notice of season and individual tickets • Priority subscription processing • An invitation to an annual Society event • Member recognition in our program book for all Carolina Performing Arts events Undergraduate and Graduate Member: $35 • All benefits and privileges afforded to Sponsoring Members Gifts made at these specified levels automatically entitle you to all respective benefits and privileges afforded to University donors in all Annual Giving Leadership programs. carolina performing arts 11/12

11/12 season donors ENDOWMENT GIFTS Leadership Gifts and Pledges ($500,000 and above) William R. Kenan, Jr. Charitable Trust Ellison Family Foundation Mr. and Mrs. James Heavner* Luther and Cheray Hodges* Thomas F. Kearns, Jr. William and Sara McCoy Anonymous

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

Named 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 James Moeser Fund for Excellence in the Arts supporting artistsâ&#x20AC;&#x2122; fees for the worldâ&#x20AC;&#x2122;s most recognized and outstanding performers. The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students.

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

CAROLINA PERFORMING ARTS SOCIETY ANNUAL GIFTS Contributions received February 1, 2011 to February 1, 2012 as of date of printing.

Performance Benefactors ($15,000 and above) Jane Ellison Thomas F. Kearns, Jr. William and Sara McCoy Wyndham Robertson Robert H. and Jane McKee Slater Charles Weinraub and Emily Kass

David Lowry Swain Society ($10,000 - $14,999) The Abram Family Munroe and Becky Cobey Sophia S. Cody Ellison Family Foundation Burton and Kathleen Goldstein Mr. and Mrs. James Heavner Luther and Cheray Hodges Dr. Joan C. Huntley Thomas F. Kearns, Jr. Mrs. Frank H. Kenan The Kenan Family Foundation Mr. Thomas S. Kenan III William R. Kenan, Jr. Charitable Trust Kimberly Kyser Anne and Mike Liptzin John A. McLendon Francine and Benson Pilloff Shirley C. Siegel Mark W. and Stacey M. Yusko

Platinum Tier ($5,000 - $9,999) Peter D. and Julie Fisher Cummings Eleanor and James Ferguson Lowell M. and Ruth W. Hoffman Jaroslav F. and Barbara S. Hulka Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Charles M. Weiss Douglas and Jacqueline Zinn

Gold Tier ($2,500 - $4,999) Betsy and Fred Bowman J. Matthew Brittain Cliff and Linda Butler Hodding Carter and Patricia Derian Castillo-Alvarez Fund of Triangle Community Foundation

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Michael and June Clendenin Jane and Frederic 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 Nancy Joyner Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas James and Susan Moeser William Morton Paul D. and Linda A. Naylor Earl N. Phillips, Jr. Paula Rogenes and John Stewart Coleman and Carol Ross Sharon and Doug Rothwell Anonymous Lynn Smiley and Peter Gilligan Beverly Taylor Michael and Amy Tiemann Brad and Carole Wilson

Silver Tier ($1,000 - $2,499) Mr. and Mrs. Louis Albanese James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Dolores Bilangi Josef and Eva Blass Kerry Bloom and Elaine Yeh M. Robert Blum William Bolen Priscilla Bratcher 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 G. Curtis and Sarah Clark Reid and Margaret Conrad Anonymous Luther Dafner and Virginia Wittig Jo Anne and Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Pat and Jack Evans Diane Frazier David G. Frey Paul Fulton Dr. Rebecca Goz Robert and Dana Greenwood Anonymous Leesie and Bill Guthridge Jim and Ann Guthrie Roberta Hardy and Robert Dale

Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Mr. and Mrs. Dick Kahler Lisa and Emil Kang Lisa and Theodore Kerner, Jr., M.D. 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 Esteban and Dana McMahan Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Jonathan and Dina Mills Mary and Ted Moore Barry Nakell and Edith Gugger Michele Natale Paula Davis Noell Karl Nordling Dr. Etta D. Pisano and Jan Kylstra Cathy and William Primack Jolanta and Olgierd Pucilowski Robin and Harold Quinn Elizabeth Raft Bryna and Greg Rapp David and Susan Rosenberg Family Fund of the Triangle Community Foundation Lies Sapp Patricia Shaw Robert and Helen Siler Robert H. Staton, Jr. Mr. and Mrs. Alan C. Stephenson Frank and Geraldine Stutz Drs. Kenneth and Mary H. Sugioka Kay and Richard Tarr Patti and Holden Thorp Denise and Steve Vanderwoude 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

/ 011 1 2 Sponsoring Members ($125 - $999)

Brigitte Abrams and Francis Lethem Ed Adkins and Hulene Hill Anonymous Cutler and Cristin Andrews Pete and Hannah Andrews Robert Antonio Nancy Appleby 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 Pat and Thad Beyle James and Martha Bick Sue Bielawski Lewis Black Gloria Nassif Blythe Jack and Jennifer Boger Bollen Family Natalie and Gary Boorman Donald Boulton Craig and Catherine Briner Lolita G. Brockington Drs. Ben and Inger Brodey Frederick and Nancy Brooks Ken and Margie Broun Betsy Bullen Dr. Leslie Anne Bunce Thomas W. and Gail W. Bunn Bob Cantwell and Lydia Wegman Byron Capps Philip and Linda Carl Erin G. Carlston and Carisa R. Showden Bruce W. Carney and Ruth Ann Humphry Carolina Home Mortgage Catharine Carter Heng Chu and Ming-Ju Huang Steve and Louise Coggins Carolyn M. Conners Jay and Barbara Cooper Gehan Corea Joanne and Michael Cotter Richard and Connie Cox Andrew Cracker in memory of Deborah Ann Cracker Timothy and Anne-Marie Cuellar William and Barbara Dahl John and Tina Deason Arthur S. and Mignon R. DeBerry John and Jill DeSalva

Robert and Nancy Deutsch Mr. and Mrs. Michael J. Donoghue Mike and Linda Dore Steven Dubois and Kathleen Barker Sam and Angela Eberts Susan Egnoto Jerry and Adelia Evans Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Patricia and Frank Fischer Jaroslav and Linda Folda Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Maeda Galinsky Greg Gangi Kip and Susan Gerard Ann and David Gerber Leonard and Ann Gettes Mike and Bonnie Gilliom Johanna Gisladottir 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 Frances C. Gravely and Haig Khachatoorian Steve Gravely Paul E. Green, Jr. Barbara and Paul Hardin Wade and Sandra Hargrove Anthony Harris Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Mike and Annie 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 Paul 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 Sarah Hubby George William Huntley III Gayle Hyatt Marija Ivanovic

Christopher and Betsy James Drs. Konrad and Hannelore Jarausch Donald and Debra Jenny Kathryn E. Johnson Dr. Norris Brock Johnson in honor of Ms. Beatrice Brock Chip Johnston Class of 1953 Beth Jonas and Michael Fried Carrilea McCauley Joy Michael and Judy Kadens Fred Kameny Harry Kaplowitz Joanna Karwowska in honor of your dedication and service to NetApp Hugon Karwowski John and Joy Kasson Joan and Howard Kastel Andrei Khlystov and Irina Lebedeva Brian and Moyra Kileff J. Kimball and Harriet King Lynn Knauff Gary Koch Michael and Maureen Kowolenko Anonymous G. Leroy Lail Barbara and Leslie Lang Ken and Frankie Lee Amy and Alan Levine Steven and Madeline Levine in honor of Mark Sidell Robert M. Lewis, Jr. 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 Anonymous 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 The Lawrence and Sylvia Mills Family Fund John Morrison and Barbara Archer 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 Patrick and Mary Norris Oglesby Newland and Jo Oldham Dennis Organ Vickie Owens Bob and Joan Page Michele Pas Dick and Jean Phillips Joel and Victoria Pineles

Robert and Marilyn Pinschmidt Carlyn and Ivan Pollack David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Teresa Prullage Susan and Vikram Rao Ivan Remnitz Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Louise A. Robinson Russell and Ann Robinson Stephen and Esther Robinson Andrea Rohrbacher Margaret Rook Richard and Rebecca Rosenberg Michael and Susan Rota John Sarratt and Cynthia Wittmer Julienne Scanlon Robert Schreiner Carol and David Sclove Jennifer and Bill Selvidge Robert and Pearl Seymour Michael and Andrea Shindler Robert Shipley David and Jacqueline Sices Mr. and Mrs. Keith Silva Mark and Donna Simon Charles Simpson Rosemary Simpson David Sink Charles and Judith Smith Dana L. Smith Jonathan and Martha Smith Wiley Smith Stuart and Harriet Solomon in memory of Ann Swern Daniela Sotres John and Carol Stamm Jane and Adam Stein Gary and Anne Leslie Stevens Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff Leslie and Paul Strohm James and Sandra Swenberg Angela Lisa Talton Sally and Nick Taylor Colin G. Thomas, Jr. Rollie Tillman Aubrey and Jeanette Tolley M.E. Van Bourgondien Susan Wall Wellspring Fund of Triangle Community Foundation Marlene and Roger Werner Barbara Smith White Harold and Kathryn Wiebusch Catherine B. Williams John W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard Silva

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11/12 season donors Glenn and Helen O. Wilson Ron and Beverly Wilson Eliza M. Wolff 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 Madalyn Alexander Class of 2011 Geoffrey Geist Adrian Greene Laura Hamrick Katie Harris Hannah Martin Charles McLaurin John D. Millett Katey Mote Anne Ruff Evan Shapiro Emily Simon David Spanos Claire Thomson Hope Thomson Brendan and Tamara Watson Christopher Wright

CONTRIBUTOrS (Under $125) Anya Abashian Class of 2011 Stephen Abdo Tanya Adderson-Davidson Dede Addy Jenna Alexy Patsy Allen Amber Kathleen Alsobrooks Alexander Ambroz Katelyn Ander James and Susan Anthony Alison Baer Arter Denise Porterfield Ashworth Katherine Baer O. Gordon Banks Arnold Barefoot, Jr. Mr. Ignatius Amedaus Beard, Jr. Kurt Becker Danny Bell Catherine Bergel Dr. Stephen A. Bernard Mel Bernay Aditi Bhattacharjee Katherine F. Blackman Marcus Blakely Robert Blank Jared Blass Kelly Stowe Boggs

Michelle M. Bordner Betty M. Borton Thomas and Betty Bouldin Hope Breeze William Joseph Brooke Teresa Broome David Brown Amy Buchan Aimee Peden Burke Nathaniel F. Bushek Robert Cameron Lawrence and Helen Cardman Dr. Gillian T. Cell Drs. John and Barbara Chapman James and Brenning Cheatham Ms. Marianne Na-Lee Cheng John Sung Choi Sandra Cianciolo Dianne and Gary Clinton James A. Cobb, Jr. Thomas Cole Bob Coleman George and Tula Collias Ms. Liz Connelly Linda Convissor Scott Cooley Jennifer Cox Dr. and Mrs. Mason Cox, Jr. Joy E. Cranshaw Daniel Crawford Leigh Hammer Crochet Michael Crosa Richard Crume Cynthia Crummey James Cryer Daniel and Elizabeth Deacon Dr. and Mrs. James W. Dean, Jr. Jennifer Lynn Drag Noel and Shelby Dunivant H. Jack and Betsy Edwards Anne Ehlers Paul and Patricia Elstro Peter and Susan Erkkinen in memory of Lillian Chason Jeanette Strasser Falk Judith Ferster Ms. Vonda Lee Frantz Rita French Ben Fuller Class of 2011 O. Ganley Butch Garris The Joseph and Anna Gartner Foundation Lindsey Genut Cosmos George William D. George, Jr. Marge Glaser Thomas Goad Mr. Shalom Goldman Anna Devin Graham Lynne Graham Chauntel Graves Kelsey Greenawalt Jack Gross Ephraim Gur

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Ayca Guralp Jerry and Kathryn Gurganious Remonia Guthrie Frank and Alma Haluch Jay Hargrove and Camille Catlett Douglas Nathaniel Harris Wade Harrison Kathleen Hearsey Lauren Heath Lita Herskowitz Timothy Hefner in honor of Shelby Bond Anne Heuer Brooke Ashley Hill Brian Edward Hill Jonathan Hill Elise Hobbs Class of 2011 Susan Hogue Carole Holland Kathleen Hopkins Julia Howland-Myers Marc Howlett Meghan Hunt Class of 2011 Kelsey Hyde Catherine C. Inabnit in honor of Emily Rodgers â&#x20AC;&#x2122;15 Drs. Christopher and Michelle Ingram Ms. Elizabeth Crawford Isley Jeanine Manes Jackson Joy Javits Mike Johnson Felipe Jolles Rebecca Jones Lauren Josey Class of 2011 Erin Kalbarczyk Barbara Kamholz Phyllis Kammer and Samuel Lebowitz Lynne K. Kane Jason Kang Eszter Sarolta Karvazy Donna B. Kelly in memory of Georgia Carroll Kyser Michael Everett Kelly Eliza Kern Sharon May Kessler Anonymous in honor of Mrs. Anne C. Liptzin Deborah C. Klein Diana Knechtel Martha Knieriem and Sandra Dennis Inna Kovaleva Leslie Kreizman Ted and Debbie LaMay Jeffrey and Jennifer Lawson Constance Lazakis Brittany Lehman Joycelyn Powell Leigh Sharon Leonard Nate Lerner Margot Lester Alison Linas David Lindquist Ray and Mary Ann Linville Thomas Logan Elizabeth Lokey

Melissa Lomax Susannah Long Class of 2011 Amy E. Lucas Richard and Linda Lupton in memory of Mildred C. Lupton, M.A. 1969 Krysia Lynes Craig Lyon Erin Kathleen Maher Patrick T. and Elaine L. Malone Sara K. Mamo M. Jay Manalo Janet Mason Anuja Mathur Paul McCarthy Emily McCloy Brian McCune Deborah McDermott John and Janine McGee William and Donna McHenry John McKeever Elizabeth McKenna and Benjamin Cozart Shirley McLean Robert McLeod Faith Leshea McNeill Soukaina Mehdaoui Julie Mikus Taylor Miles Valerie Minor Vanessa Boateng Mitchell Christian Moe Todd Moore Grant Morine Robert Xavier Morrell Reid Muller and Shelley Gilroy Laura Newman Christopher Nickell Thomas Wright O'Brien Marilyn and David Oermann Hannah and Ryan Ong Gregory and Carla Overbeck Elizabeth Pack Bettina Patterson Susan Pelletier Patricia Peteler Jeremy Peterman Michael Gregory Philyaw Karin and David Pfennig Zachary Jordan Pope Phyllis Post Joshua Price Michelle Pujals David Rathel Venu Ravi Mr. and Mrs. William Ray Rupa Cook Redding-Lallinger Mary Regan Suzanne Reiss in memory of Charles Colver Matthew Reyes Class of 2011 Adeirdre Riley Peter Robson H. Daniel Rogers, Jr. Eric McKinley Sain Bonnie Salu Margie Sander

/ 011 1 2 Randall K. Sather Margie Satinsky Marisa Sears Mary Sechriest David and Linda Seiler Suraj S. Shah Tatjana Shapkina Jill Shires Alexander Silbiger Anne H. Skelly Arielle Solomon Gina Song Timothy Spitzer Mark Steffen Mr. and Mrs. Michael Stephenson Shaler Stidham Laurence Augustine Stith, Jr. Stuart Lee Stroud Xiaowu Sun Thor Svendsen Ellyn and Jimmy Tanner Wendy Tanson Alan Templeton Shaw Terwilliger John Thomas John B. Thomas Franklin and Janice Thompson Rod Thompson Sue Tolleson-Rinehart Charleton Torrence III Jennifer Anne Trevino John Trexler Lindsey Utrata Sejal Prabodh Vora Daryl Farrington Walker David Walker Blaine Sherrill Ward Julie Warshaw James Wasson in memory of Annie Pearl Shaw Brianne Lea Waugh Charles and Marie Weil Cynthia and Robert Wheaton Rebecca Wheeler Ormonde Deane Wilkinson Dr. Derek and Louise Winstanly Adrienne Wollman Class of 2011 Manuel and Karen Wortman Marijean Young Anthony and Laurel Zitney Sherrie Zweig and Richard Vinegar

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

SPECIAL THANKS TO OUR SPONSORS Elite Coach University Florist

STUDENT TICKET ANGEL FUND Contributions received as of February 1, 2012. Angels ($25,000 and above) Robert and Mary Ann Eubanks Joseph and Beatrice Riccardo Mark W. and Stacey M. Yusko

Patrons ($5,000 - $9,999) Thomas F. Kearns, Jr. Mr. Thomas S. Kenan III

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

Donors (Under $2,000) Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn 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 Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara H. Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Brooke Crouter Dr. James W. Crow 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 Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Tim 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 Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Jocelyn 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 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 Josie Ward Patton Florence and James Peacock John Atlas Pendergrass Kenneth Lawing Penegar Earl N. Phillips, Jr. 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 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 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 Douglas and Jacqueline Zinn Scott Garcia and Debbie McDermott* *Deferred gift

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important information Memorial Hall Box Office Hours

Concessions

• Monday-Friday: 10:00am - 6:00pm • Weekday events: 10:00am - intermission • Weekend events: 12 noon - intermission

• Concessions are available for purchase in the lobby prior to the performance and during intermission.

Memorial Hall Box Office The University of North Carolina at Chapel Hill CB#3276, 114 East Cameron Avenue Chapel Hill, NC 27599-3276 P: (919) 843‑3333; F: (919) 843‑9848 E-mail: performingarts@unc.edu

House Policies Late Arrivals • Patrons arriving after the start of a performance will be seated at the discretion of the house staff, typically in between works. • Late seating will be permitted at the discretion of management. Please note that ticketed seat locations are not guaranteed past curtain time.

Coat Check • This service is available for patrons seasonally and is located on the left side of the main lobby. Memorial Hall is not responsible for lost, stolen or damaged items.

Lost and Found • For lost items, please contact the Box Office. For found items, please notify an usher.

Accessibility Services •

If a patron has special needs, the Box Office staff should be notified by the patron in advance and arrangements will be made for accommodations. Special needs include, but are not limited to, hearing or sight impairment, the use of a wheelchair, etc.

• No outside food or beverage is allowed to be brought into Memorial Hall.

No Smoking • Smoking is prohibited inside Memorial Hall and on the UNC campus.

No Electronic Devices • Use of cell phones, beepers and alarms of any kind is prohibited during performances. Please remember to turn these items off before the performance begins. • Photography, videography and recording devices of any kind are prohibited during performances. Violation will result in ejection without re-entry.

Ticket Policies • Tickets may be purchased by phone, fax, mail, in person or online. • Forms of payment accepted: Visa, MasterCard, UNC OneCard, cash, personal checks, and travelers’ checks. All phone, fax and online orders must be charged by credit card as tickets will not be held without payment. All sales are final. No refunds or exchanges are allowed. Tickets that go unused may be returned to the Box Office no later than one week prior to the performance and will be considered a tax-deductible donation. A receipt for the donation will be issued. If a performance is cancelled, patrons will be refunded the face value of the ticket. All tickets, other than those purchased in person, will be mailed. Please allow 7-10 days for delivery. All tickets purchased less than seven days prior to the performance will be held at Will Call. Patrons must present photo identification to pick up tickets at Will Call. All persons, regardless of age, must have a ticket for admission to performances. A current mailing address, e-mail address and phone number are required when purchasing tickets. All programs, dates, times and prices are subject to change.

carolinaper formingar ts.org // (919)843-3333

VIEW ben clark

When else in my life will I have the opportunity to experience such an array of performances and expand my global perspective so readily?

Before I attended my first show at Carolina Performing Arts, I wasn’t sure if I was going to appreciate or understand what was on stage. I’m a computer science major with a focus on programming and software, and my own musical tastes veer toward classic rock and alternative music. Honestly I never really considered spending much money or time exploring jazz or classical music, let alone theater or dance performances. But after coming to work at Carolina Performing Arts in the IT department, I have come to view the arts quite differently and have been able to find plenty of performances that interest and intrigue me. Certainly, there have been performances I’ve attended that haven’t been my cup of tea, but each of them has been a unique experience that I’m glad to have had. Some performances stand out as having changed my perspective of the arts. For instance, after seeing Chick Corea last year, I have discovered how fun jazz musicians are to watch. And the National Theatre of Scotland's Black Watch not only exposed me to a different view of war and a soldier's life, but it allowed me to experience it upclose and personal in Carolina Performing Arts’ Loading Dock series, in which the audience sits onstage. Also last year, I was stunned by Sidi Larbi Cherkaoui’s Sutra featuring Shaolin monks, and Cirque Éloize’s performance. I would love to see these two performers again in the future.

Since my initial introduction, I’ve taken note of the variety of performers who come to our campus — just a five-minute walk from my dorm — not only in genre (music, dance, theater, etc.) but also in origin. Of the four shows I’ve mentioned, performers came from the U.S., Scotland, China, Belgium and Quebec. This year, I saw Babel (Words), another work by Sidi Larbi Cherkaoui that featured dancers and musicians from 13 different countries. When else in my life will I have the opportunity to experience such an array of performances and expand my global perspective so easily? And thanks to the Student Ticket Angel Fund, student tickets are available for only $10 for any Carolina Performing Arts show — meaning I can see artists from around the world for just $10. I have come to greatly enjoy each season at Carolina Performing Arts. I’m willing and excited to go to any performance that Carolina Performing Arts brings to Memorial Hall because I know it will broaden my horizon. After all, isn’t that what we’re here for? Ben Clark (’13) is studying computer science at UNC. He has been working with Carolina Performing Arts’ Information Technology Support office since July 2010.

carolina performing arts 11/12

carolina performing arts word emil kang

In a few weeks, we will announce our 201213 Carolina Performing Arts season. A significant focus of our year will be The Rite of Spring at 100, one of the most important endeavors untaken by this organization since our inception in 2005. For next season, we have commissioned some of the most worldrenowned artists to re-imagine the landmark score in honor of the 100th anniversary of the world premiere by the Ballet Russes in 1913. The inspiration for this project begins in Paris in 1913 when the Ballet Russes premiered The Rite of Spring, choreographed by Vaslav Nijinsky and composed by Igor Stravinsky. The audience after experiencing this antiballet — with its use of dissonance, complex rhythmic structures and innovative timbres — rioted in the theater and in the streets outside the Théâtre des Champs-Élysées. Despite the initial reaction, The Rite of Spring is recognized as one of the most important works of the 20th century and is responsible for ushering in the modern era. Nearly 100 years later, world-renowned artists like Bill T. Jones, Anne Bogart, The Mariinsky Orchestra, Nederlands Dans Theater I and The Silk Road Ensemble with Yo-Yo Ma will interpret the impact and influence of this powerful work in new and original performances through dance, theater and music.

These premieres will be seen only on the stage at Memorial Hall. During the past four years, I’ve personally met with all of the commissioned artists to discuss their ongoing projects, flesh out ideas and allay any initial hesitation for taking on such a monumental project. I’ve watched rehearsals, read artistic statements and discussed insights into the music of Stravinsky or the choreography of Nijinsky. I can state confidently that these premieres will be some of the most innovative and important pieces seen anywhere in the world. We enter an historic moment in the brief history of Carolina Performing Arts, and as its executive director, I am humbled and honored to present these works in Chapel Hill. But beyond what is seen on stage, The Rite of Spring at 100 will also take the discussion to UNC faculty and students with a focus of more deeply integrating the arts into the academy. We are partnering with UNC’s Institute for the Arts and Humanities and Department of Music to present sister academic conferences in Chapel Hill and Moscow. The conferences will use The Rite’s centennial as an occasion to rethink the foundations and relevance of modernist aesthetics in contemporary times.

carolinaper formingar ts.org // (919)843-3333

Together, the conferences will offer material for a unique book edited by the directors of the conference, UNC’s Eugene Falk Distinguished Professor of Music Severine Neff and Assistant Professor of Music Brigid Cohen. It will be the first publication on The Rite of Spring to include the writings of major American, Austrian, English, German, Russian and South Korean scholars of music, history and dance. The creative response to The Rite of Spring by today’s leading artists will complement and inform the scholarly dialogues of the academic conferences and reinforce the courses offered across campus during the year. All facets of the project will address the ways in which the piece has compelled its listeners to come to terms with their own understanding of the human condition — the experience of suffering, struggle, survival and ultimately, a sense of rebirth. It is thrilling to talk about The Rite of Spring at 100, and I cannot wait until May when we announce the details. Until then, I encourage you to follow the development of the project on our website at www.carolinaperformingarts.org/rite100.

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