MO DLI N 201 7-2018 SEASO N
UN I V E R S I T Y O F R I C H M O ND MODLIN CENTER FOR THE ARTS
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The arts, and the creative energy we all possess, are important parts of our lives and are fundamental elements of the human experience. They shape us and connect us to the world at large and across all manner of divides, allowing us to explore and voice our concerns, dreams, and common aspirations.
the University’s website for the 20172018 Tucker Boatwright Festival of Literature and the Arts presented by the Department of Theatre and Dance.
For the 2017-2018 season, we are bringing a unique set of cultural and arts experiences through performances, exhibitions, lectures, school shows, family events, visual arts and artist voices. You will find a number of talks and discussions curated as part of the University and Modlin Center’s mission that are free and open to the public. These include events in the Modlin Arts series; the University’s Department of Music, Department of Theatre and Dance, and Department of Art and Art History series; and exhibits and talks
We are delighted to announce a set of renovations taking place in our spaces. The University of Richmond understands the importance of the arts and the connections and educational experiences the arts inspire, therefore, we have embarked on making artist and patron experiences even better. We have recently added to the Modlin complex new studio and support spaces. In 20172018 we will be renovating Booker Hall, where Camp Concert Hall is located, and in the summer of 2018, we will renovate and update some features inside Camp Concert Hall. We look forward to keeping our patrons informed of our progress, and thank you in advance for taking this journey with us.
curated by University Museums. Look for the Artist Voices and residency events listed in this brochure and on
I am looking forward to seeing you at our events.
Best,
Deborah S. Sommers Executive Director
CONTENTS 6 20
21 22 25 26 27
Modlin Arts Season Calendar Department of Theatre & Dance Calendar
Department of Music Calendar University Museums
General Information Sponsors & Partners
Membership Information
FIND MODLIN ON
2017 2018
MODLIN ARTS
CALENDAR SEPTEMBER SUN. 10
7:30 PM
Escher Quartet with Jason Vieaux, guitar
THUR. 21
7:30 PM
Michael Sakamoto, Soil
a
O C TO B E R WED. 4
7:30 PM
Rhiannon Giddens, Freedom Highway Tour
THUR. 5
7:30 PM
Direct from Johannesburg, South Africa: Festival of South African Dance featuring Gumboots and Pantsula Dance Companies Doug Varone and Dancers
MDT
WED. 11
7:30 PM
THUR. 19
7:30 PM
Shovels & Rope
FRI. 20
7:30 PM
Richard Goode, piano
SAT. 21
7:30 PM
Eddie Palmieri Latin Jazz Orchestra: Eddie at 80
MON. 30
7:30 PM
Thomas Meglioranza, baritone and Reiko Uchida, piano
SUN. 5
3:00 PM
Family Arts Day Celebration featuring Theatreworks USA, Click, Clack, Moo (Free Arts Day events begin at 1 PM, performance at 3 PM)
THUR. 9
7:30 PM
Shanghai Quartet with Peter Wiley, cello and Shmuel Ashkenasi, violin
SAT. 11
7:30 PM
Irma Thomas, The Blind Boys of Alabama, & The Preservation Hall Legacy Quintet
THUR. 16
7:30 PM
Artist Voices Series with Bassem Youssef
FRI. 17
7:30 PM
Jerry Douglas presents the Earls of Leicester
THUR. 30
7:30 PM
Jazz at Lincoln Center Orchestra with Wynton Marsalis and special guests Catherine Russell and Kenny Washington, Big Band Holidays
7:30 PM
Ethan Lipton & His Orchestra, The Outer Space
NOVEMBER
DECEMBER FRI.-SAT. 1-2
6
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MDT
JANUARY SUN. 21
3:00 PM
Mermaid Theatre Company of Nova Scotia, Guess How Much I Love You & I Love My Little Storybook
FRI. 26
7:30 PM
Feathers of Fire: A Persian Epic
SAT. 27
3:00 PM
Feathers of Fire: A Persian Epic
THUR. 1
7:30 PM
Alicia Olatuja
FEBRUARY FRI. 2
7:30 PM
Dorrance Dance
WED. 7
7:30 PM
SONGBOOK: Steven Page and the Art of Time Ensemble
WED. 14
7:30 PM
China National Symphony Orchestra featuring Tan Dun, conductor
SUN. 18
7:30 PM
Gil Shaham, violin and Akira Eguchi, piano
FRI. 23
7:30 PM
Cécile McLorin Salvant
WED. 28
7:30 PM
Artist Voices Series with Lynn Nottage
SAT. 3
7:30 PM
St. Patrick’s Day Celebration featuring Danú
WED. 7
7:30 PM
L.A. Dance Project
FRI. 16
7:30 PM
Circa, Carnival of the Animals
MDT
MARCH
SAT. 17
7:30 PM
Circa, S
WED. 21
7:30 PM
Jerusalem Quartet
FRI. 23
7:30 PM
Eighth Blackbird, Olagón
WED. 28
6:00 PM
Artist Voices Series with Maria Chavez
THUR. 5
7:30 PM
Maria Schneider Orchestra
SAT. 7
7:30 PM
Sō Percussion with Gilbert Kalish, piano and Dawn Upshaw, soprano
APRIL
FRI. 20
7:30 PM
Mandolin Orange
THUR. 26
7:30 PM
Tanya Tagaq, Nanook of the North
FRI. 27
7:30 PM
Steep Canyon Rangers with special guest Sierra Hull
For a full list of NT Live and Bolshoi Ballet Broadcasts, visit modlin.richmond.edu.
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Supporting the Arts in Richmond for Thirty Years When I moved to Richmond and began supporting the local arts the Nickel Bridge was a dime, the VMFA hosted “Jumpin’ in July”, you could walk through the Fan and smell cookies baking from FFV, a drive to the far West End meant going out to Parham Road, the Visual Art Center was The Hand Workshop, and Joe’s Inn... was exactly as it is today. Supporting the Arts... yesterday, today, and tomorrow.
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VCU DANCE 2 017-2018 S e a s o n
DANCE ON CAMERA Film Screening September 25, 2017 Grace Street Theater
FALL SENIOR PROJECT Part I: November 3, 2017 Site-Specific Works at 1708 Gallery’s InLight
HELEN SIMONEAU DANSE
Part II: November 16-18, 2017 Saturday, March 3, 2018 Grace Street Theater
W. E. Singleton Center for the Performing Arts
THE SALON
MEGHAN ABADOO
November 29, 2017
March 23-24, 2018
Depot Annex Studio
VCU DANCE NOW February 8-10, 2018 Grace Street Theater
Grace Street Theater
Tickets: 804-828-2020 or www.showclix.com Virginia Commonwealth University Department of Dance + Choreography arts.vcu.edu/dance
SPRING SENIOR PROJECT April 19-21, 2018 Grace Street Theater
Photo: Sarah Ferguson
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2017 2018
MODLIN ARTS FOR THE
CENTER
The Very Best in Music, Theatre, Dance, & Visual Arts
Escher Quartet with Jason Vieaux, guitar Sunday, September 10, 2017 | 7:30pm Camp Concert Hall, Booker Hall of Music
Please silence all electronic devices before the performance begins. Recording of any kind is strictly prohibited.
THIS EVENING’S PROGRAM ESCHER QUARTET
Adam Barnett-Hart, violin Danbi Um, violin Pierre Lapointe, viola Brook Speltz, cello
with guest artist JASON VIEAUX, guitar Quartet in B-flat Major, K. 458 “Hunt” Allegro vivace assai Menuetto: moderato Adagio Allegro assai
MOZART
Arcadiana, Op. 12 (1994) ADES Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et…(tango mortale) L’embarquement O Albion Lethe (Escher Quartet)
INTERMISSION
from Lute Suite No. 1, BWV 996 Prelude Allemande Gigue
J.S. BACH
A Felicidade JOBIM/DYENS In a SentimentalMode ELLINGTON/VIEAUX (Jason Vieaux) Guitar Quintet in D Major, G. 448 “Fandango” Pastorale Allegro maestoso Grave assai – Fandango (Escher Quartet and Jason Vieaux)
BOCCHERINI
Management for ESCHER QUARTET: Arts Management Group, Inc., 130 W. 57th St., NY, NY 10019 Management for JASON VIEAUX: Jonathan Wentworth Associates, Ltd., 5 Lockwood Rd., Scarsdale, NY 10583
PROGRAM NOTES String Quartet No. 17, in B Flat Major, K. 458,“The Hunt”. . . Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5,1791, in Vienna) The bond between Mozart and Haydn was one of those rare examples of lasting friendship and artistic interaction between two great men. “Before God, and as an honest man,” Haydn said to Mozart’s father on February 12, 1785, after hearing three new quartets by the young composer, “I will tell you that your son is the greatest composer known to me either in person or by reputation.” In the few years before that, Haydn had reshaped and “modernized” the form and style of the string quartet. Mozart, watching closely, adopted each new feature and, at the same time, invested it with the individuality of his particular genius. The appearance of Haydn’s six “Russian” Quartets, Op. 33, inspired Mozart to write three new ones; when Haydn was in Vienna in 1784 and 1785, Mozart composed three more in rapid succession. These six quartets show Mozart at the peak of his creative power. Unusually, they, among the finest works in the quartet literature, were composed with no commission and no compensation. On September 1, 1785, Mozart sent the manuscripts of the quartets to Haydn with a dedicatory letter that said, “To my dear friend Haydn: I send my six sons to you, most celebrated and dear friend. They are the fruit of long and laborious study. During your last stay in this city, you expressed your approval of these compositions. Please accept them and be a father, guide and friend to them. Be indulgent of the faults that may have escaped my partial eye, and, in spite of them, continue your generous friendship. I remain, with all my heart, your most sincere friend, W. A. Mozart.” [Abridged] Mozart completed the Quartet in B-flat, K. 458, the fourth of the six, on November 9, 1784. It takes its popular nickname, The Hunt, from the flourishes that sound like horn calls in the first movement, Allegro vivace assai. The second movement is a positive but serious Minuet, Moderato. It has been posited that Mozart’s version of this basic light dance form was the first step toward the rejection of the form and Beethoven’s replacement of it with the more serious Scherzo. The grave third movement is profound and slow, Adagio; this intense treatment too, looks ahead to the manner of Beethoven and the Romantics. Critics consider this slow movement to be the pinnacle of the whole set of quartets that Mozart dedicated to Haydn. In the witty and spirited finale, Allegro assai, Mozart uses melodies and structures that may have been conscious imitations of Haydn. Arcadiana . . . Thomas Adès (Born in England in 1971) For the last decade, the British composer, Thomas Adès, has been considered the “bright new star of British music.” He writes in a personal, intimate, and deeply communicative way, succeeding in becoming accessible and also original and conveying pure emotion. His work has been likened to a mixture
PROGRAM NOTES of that of the 20th century composers Ligeti and Kurtag, but with a sprinkling of the kind of innovation found in the 18th century in Mozart. Adès uses traditional harmony, dissonance, and elements of various genres in creating his unique voice. When he was seventeen, Adès composed Five Elliot Landscapes, now known as Op 1. A year later, Chamber Symphony, Op. 2, written in 1990, was performed at a Cambridge Festival and by the BBC Philharmonic and Ensemble Modern. Adès studied composition with Robert Saxton and piano with Paul Berkowitz at the Guildhall School of music, then with composers Alexander Goehr, Robin Holloway, and Hugh Wood at King’s College, Cambridge. After graduating from Cambridge, Adès joined the Hallé Orchestra as Resident Composer. In 1993, he wrote Living Toys for the London Sinfonietta. His first opera, Powder her Face, was a formidable success. His second opera, The Tempest, was commissioned by the Royal Opera House and premiered there in 2004. His orchestral works include Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami 2011), Violin Concerto Concentric Paths (Berliner Festspiele and London Proms, 2005), In Seven Days (Piano concerto with moving image - LA Philharmonic and RFH London 2008), and Totentanz for mezzo-soprano, baritone and orchestra (London Proms, 2013). Among his chamber works are this string quartet, Arcadiana, as well as The Four Quarters (2011), and a Piano Quintet (2001). He has also composed many solo piano works and several choral works. From 1999 to 2008 he was Artistic Director of the Aldeburgh Festival. Adès music won numerous awards and prizes, including the Paris Rostrum for the best piece by a composer under 30 (1994); the 1997 Royal Philharmonic Society Prize; the Elise L Stoeger Prize and the Ernst von Siemens Composers’ prize for Arcadiana (1999); the Salzburg Easter Festival Prize (1999); the 2000 Grawemeyer Prize (the largest international prize for composition, for which he was the youngest recipient); and the Hindemith Prize (2001); British Composer Award for The Four Quarters; and Best Opera Grammy and Diapason d’or de l’année (Paris) for The Tempest (2010). Adès coaches Piano and Chamber Music annually at the International Musicians Seminar, Prussia Cove. Arcadiana is Adès first string quartet. This evocative work was commissioned by the Endellion Quartet in 1994 to be performed at the Cambridge Elgar Festival. It has seven continuous movements and is mercurial in its quick changes of character. In the recollection of things past or imaginary, with much self-referential material, all the even numbered movements relate to land, while the odd concern water in various forms. The work demands technical proficiency, and it requires poetic expressiveness of each of the string players. The quartet is evocative without being overly emotional, as its moods change quickly. In the first movement, Venezia notturna, (“Venice night”), Adès uses delicate yet dissonant combinations of a siciliana dance rhythm with lyricism and unusual ornamentation to create a very mysterious, languid nocturne for a Venetian night. The next section, Das klinget so herrlich, das klinget so schön,
PROGRAM NOTES (“It rings so splendidly, it rings so beautifully”), challenges the ear with its sudden dynamic changes and its unusual harmonics as well as the cello solo. The German title refers to Papageno’s magic, silver bells that accompany the Queen of the Night in Mozart’s Die Zauberflöte. The pizzicati glissandi in the Scotch snap-rhythm of the third movement, Auf dem Wasser zu singen, (Singing in the physical center of the work, Et...(tango mortale) (“deadly tango”), the strong and loud dynamics are striking in the dark and subtly mysterious tango. This centerpiece of the work relates to two Nicholas Poussin paintings in which shepherds in a classical landscape are reading a tomb’s inscription: “Et in Arcadia ego”(I (death) exist in Arcadia.”) In the fifth section, the shimmering L’Embarquement, Adès memorializes Watteau’s majestic painting of an embarkation from Cythera, the mythological birthplace of Venus, with an expansive scherzo. The movement also refers to music by Couperin. In the next, O Albion, Adès remembers Albion quietly and succinctly with complex counterpoint offered affectionately and nostalgically in tribute to the Nimrod section of Sir Edward Elgar’s profound Enigma Variations. The finale, Lethe, creates the sound of the waves washing up on the boat of doom or forgetfulness, before the music fades into nothingness. A sublime cello solo is heard above harmonics created by the other strings. John Henken has suggested that Hades, which is where the river of Lethe is located, is sometimes spelled without the “H” – Ades. Three Movements from Suite No. 1 in C minor for Lute-Cembalo, BWV 996 . . . J.S. Bach (Born March 21, 1685, in Eisenach; died July 28, 1750, in Leipzig) The Suite in C minor, also known as the Partita, BWV 997, is assumed to be a product of Bach’s Leipzig years, probably dating from the late 1730s or perhaps early 1740s. A restrained work, it contains extraordinary architectural detail and thus is widely considered Bach’s finest lute composition. No original manuscript is in existence although there are a few copies. There has long been debate about the actual instrument that J. S. Bach intended. Because of its texture, it seems this work is not likely to have been composed for cembalo. It is not known whether Bach played the lute, nor which of his works were lute compositions and which may only have been inspired by the lute but actually intended for keyboard. It may be that this composition was intended for a keyboard instrument known as the Lautenwerk, a lute-cembalo, an amalgam of the two instruments with gut strings but a keyboard similar to that of the cembalo and a sound that approximated the sound of the lute. Bach’s collection of instruments, examined after his death, was found to include a Lautenwerk. This work is one of just two lute suites (regardless of whether that means for an actual lute or for a Lautenwerk) that Bach composed; his others are arrangements of works he originally wrote for violin or cello. This piece has four movements, beginning with a through-composed rather splendid and
PROGRAM NOTES fast-moving written in two voices, with the upper more embellished and the lower moving generally in even quarter notes. The movement is very demanding for the performer but, nonetheless, is very expressive. Instead of following the opening Preludio of the Partita with an Allemande and movement is particularly unusual in that the initial music recurs after the contrasting middle section. Only the last two movements, the Sarabande and the Gigue, replicate the standard dance styles usually found in Baroque suites. The dignified Sarabande has two equal halves, and the lively but graceful Gigue that follows is rounded off with a Double derived from the Gigue; the Double serves to fill in all the rhythmic spaces of the dance with ornamentation. “A Felicidade”. . . Antonio Carlos Jobim (arranged By Roland Dyens) (Born January 25, 1927 in Rio de Janeiro, Brazil; died December 8, 1994 in New York) Jobim, a Brazilian composer, pianist, songwriter, arranger and singer, was one of the primary forces in the creation of bossa nova style. Although he originally planned a career as an architect, he found music’s draw was powerful, and he transitioned to a life in music, beginning by playing piano in nightclubs and working in recording studios. Jobim, sometimes thought of as the George Gershwin of Brazil, has written works performed by many singers and instrumentalists internationally. Full of sensuous melodies and harmonies, his music is rooted in jazz; many West Coast jazz artists (e.g. Gerry Mulligan, Chet Baker, and Barney Kessel) influenced him. Jobim reflected that the music of the French Impressionist, Debussy was very influential in his own use of harmony, and that the Brazilian samba was what gave his creations their rhythmic roots. Unquestionably, the music of Pixinguinha, a legendary musician and composer who was a great modernizer of Brazilian music in the 1930s, as well as that of Villa-Lobos, another of his countrymen, had an enormous effect on Jobim’s work. Jobim was an innovator in his use of sophisticated harmonic structures in his popular songs. Some of Jobim’s melodic twists, like writing melodies which revolved around a chord’s major seventh, became commonly used in jazz after his work. In the late 1950’s, the then-unknown singer João Gilberto recorded some of Jobim’s songs, which had the effect of launching bossa nova. In 1956, Jobim teamed up with poet Moraes to work on the music for a play called Orfeo do Carnaval. When the play was turned into a film, its producer, Sacha Gordine did not want to use the existing music from the play and asked de Moraes and Jobim for a new score for the film Orfeu Negro (Black Orpheus). At the time, Moraes was in Uruguay working for the Brazilian Ministry of Foreign Affairs, and he and Jobim were only able to write three songs, collaborating on them over the telephone. A Felicidade was one of those three songs. The modern take on the classic tragedy of Orpheus and Eurydice is set in Brazil and opens
PROGRAM NOTES with the song A Felicidade with the line that sets the tone for the plot: “Sadness has no end; happiness does”. A Felicidade has been arranged and recorded by many artists; the arrangement performed in this concert was created by French guitarist Roland Dyens. This In a Sentimental Mode . . .Edward Kennedy Ellington arr. Vieaux (Born April 29, 1899, in Washington, D.C.; died May 24, 1974, in New York) Edward Kennedy Ellington, universally known as Duke Ellington, was one of the most inventive and most fertile of 20th century American musicians. His smooth and regal style in both speech and manner inspired a childhood friend to dub him “Duke,” a nickname that stuck. In spite of the odds stacked against him, Ellington rose to become a giant of American jazz, composing and arranging more than 1,000 works and revolutionizing the concept of the jazz ensemble. By introducing more instruments and larger forces to the “big band,” Ellington expanded its scope. He is remembered as being among the few who elevated jazz to being regarded as art when the medium was still young. The range and complexity of his musical arrangements led him also to explore composition on a symphonic scale. His large-scale works, suites for orchestra and sacred services with voices, were frequently performed in concert halls and churches; Broadway and Hollywood producers often called on him to write music for their spectacles as well. He broadened the parameters of jazz, edging closer to the classical idiom. He was ultimately recognized with presidential honors, thirteen Grammy® awards, a Pulitzer Prize and even the French Legion of Honor. Biographer Terry Teachout described Ellington as “a riddle without an answer, an unknowable man who hid behind a high wall of ornate utterances and flowery compliments that grew higher as he grew older.” Overall, records show him to have been extremely unusual, articulate and perceptive yet difficult, focusing credit on himself rather than on his musical collaborators. When musical fashions eventually moved on, his life style did not change, and it has been recorded that he died owing more than a half million dollars in back taxes. Among his many hits is In a Sentimental Mood, which Ellington recounted that he improvised at a party in order to calm two women who had become upset. His orchestra first recorded its instrumental version; the lyrics were added later. The lyrics say, “On the wings of every kiss drifts a melody so strange a sweet; in this sentimental bliss you make my paradise complete.” Quintet in D major for guitar and strings, G.448, “Fandango”. . . Luigi Boccherini (Born February 19, 1743, in Lucca, Italy; died May 28, 1805, in Madrid) Luigi Boccherini was a cellist and composer whose brilliant career as a young touring virtuoso took him from Italy to Germany, France and Spain, where he
PROGRAM NOTES settled in 1769 and spent most of the rest of his life. In 1770, the composer was appointed to the service of the Infante Don Luis, brother of the King of Spain, as his exclusive composer and as performer. His creative output was colossal: hundreds of pieces of chamber music, dozens of symphonies and concertos, two operas, and many other vocal and choral works. Haydn and he admired each other’s music, and Mozart was once thought to have polished his craft by him around a hundred chamber works he had written over the past several years. Within the next few months, he was appointed cellist to King Charles III, who granted him a significant monthly stipend; he also secured two new patrons, one of whom was Friedrich Wilhelm, the future king of Prussia, and by 1787, he had married his second wife, Maria Joaquina Porreti, the daughter of another great cellist. Although Boccherini’s music was very popular while he was alive, his works’ reputations grew immediately following his death; eventually, though, they fell out of favor with performers and did not return to popularity until about fifty years ago. The relatively recent “rediscovery” of his music and the new understanding of its richness and individuality are, in large part, the result of a series of studies sponsored by Baroness Germaine de Rothschild, at the suggestion of her son-in-law, the mid-20th century cello virtuoso, Gregor Piatigorsky. In the 1770s, Boccherini began to compose string quintets, works for string quartet with an additional cello. He also wrote piano quintets, a form he was the first to introduce. In his time, his music was valued for its boldness of conception and elegance of expression. It is from the piano quintets that Boccherini arranged his guitar quintets at the century’s end. Each of the twelve was either a transcription of an earlier work or an arrangement for different instruments of a piece he just composed. Eight survive. In 1798, Boccherini took two movements from two different works and created a new work, joining them to create the String Quintet in D Major for two violins, viola, cello, and guitar, G. 448, in 1798. He began it with a Pastorale and an Allegro Maestoso, the opening two movements from his Quintet Op. 10, No. 6 of 1771, G. 270. He reversed their original order and added them to the two opening movements of his String Quintet in D major for two violins, viola, and two cellos, Op. 40/2, G. 341, which he composed in 1788. Together these two halves now make up the extraordinary and very popular Quintet for Guitar and Strings, the fourth piece in a collection of twelve String Quintets with guitar commissioned by the Barcelona-born Borja de Riquer y Ros, the fifth Marquis de Benavent, an amateur guitarist who lived in Madrid. Borja de Riquer y Ros requested that they be created for his personal use, and he played them in performance at artistic evening concerts in the capital. Thus this work was brought into being without significant effort for Boccherini, although it provided him with additional income. Much of Boccherini’s music, including this quintet, is an expression of Classicism in a Mediterranean musical context. At the time, authorities
PROGRAM NOTES frequently banned the fandango; it was a target of censure during the Inquisition, but Boccherini was attracted to this native Spanish form and its traditional giddy dance rhythms. Antonio Soler, a priest and composer, had been bold enough to compose a keyboard fandango before Boccherini created his own version of the dance, but Boccherini’s choice of the dance was still a daring one. (The fandango originated as an Andalusian gypsy courtship dance traditionally performed by a couple with castanets, accompanied by guitars.) Boccherini’s work is full of emotion, exceptional technical quality, and aesthetic refinement. Boccherini’s style is characteristic of his period, the age of Haydn. The woven together work is completely unified in key and mood. The first movement, Pastorale, it has been said, has “the mood of a Baroque Christmas concerto.” Its muted strings play a delicate, mellifluous line with the guitar. The second movement, Allegro maestoso, is more spirited and gives the guitar a secondary role, while here the cello, Boccherini’s instrument, takes the lead, displaying lyrical passages. The rest of the quintet is not really two separate movements, but an introduction, Grave assai, followed by a Fandango, from which the quintet takes its nickname. The introduction is slow and somber, beginning in the major mode but ending in the minor, which the lively final fandango, in a fairly fast triple meter, shares. The Spanish dance’s rhythm repeats, and the instruments each have a chance to express some of the melody. As the complexity intensifies, the speed gradually increases. Boccherini included optional parts for castanets and sistrum, an Arabic tambourine-like instrument, which provides a percussive effect. This movement has been excerpted and arranged for everything from two guitars to guitar and orchestra in the last two centuries, but the original version remains the most effective and the most evocative of Spain.
Notes are copyright Susan Halpren, 2017
ABOUT THE ARTIST ESCHER QUARTET
Adam Barnett-Hart, violin Danbi Um, violin Pierre Lapointe, viola Brook Speltz, cello
with guest artist JASON VIEAUX, guitar
About Escher Quartet “They hold the listener spellbound from first bar to last” - BBC Music Magazine The Escher String Quartet has received acclaim for its profound musical insight and rare tonal beauty. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall. In its home town of New York, the ensemble serves as Season Artists of The Chamber Music Society of Lincoln Center, where it not only presented the complete Zemlinsky Quartets Cycle in a concert streamed live from the Rose Studio, but was also one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets as well as being invited to tour with CMS to China. Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet-in-Residence at each artist’s summer festival: the Young Artists Program at Canada’s National Arts Center; and the Perlman Chamber Music Program on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, Joshua Bell, Paul Watkins, and David Shifrin, and in 2013, the quartet became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant. Known for their wide stylistic interests, the Escher Quartet has collaborated with jazz saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera, and tours regularly with Grammy award winning guitarist Jason Vieaux. The Escher Quartet has made a distinctive impression throughout Europe, with debuts including the Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Slovenian Philharmonic Hall and Auditorium du Louvre. With a strong collaborative approach, the group has appeared at festivals such as Heidelberg Spring Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia. Alongside its growing European profile, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New York, the Kennedy Center in Washington DC and the Ravinia and Caramoor festivals. In 2014, the
ABOUT THE ARTIST quartet gave a highly praised debut at Chamber Music San Francisco and in 2015 presented a Schubert Quartets focus at Music@Menlo in California, where it has returned in subsequent seasons. The quartet fervently supports the education of young musicians and has given masterclasses at institutions such as the Royal Academy of Music in London and Campos do Jordão Music Festival in Brazil. In addition, they were the String Quartet-in-Residence at Southern Methodist University in Dallas, Texas in 201516. Volumes I and II of the complete Mendelssohn Quartets, released on the BIS label in 2015, were received with the highest critical acclaim, with comments such as “…eloquent, full-blooded playing…The four players offer a beautiful blend of individuality and accord” (BBC Music Magazine). The Mendelssohn series was concluded with the release of Volume III in 2016. The quartet has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014 respectively, to accolades including five stars in The Guardian with “Classical CD of the Year”, a Recommendation in The Strad, “Recording of the Month” on MusicWeb International and a nomination for a BBC Music Magazine Award. The Escher Quartet takes its name from the Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.
About Jason Vieaux Grammy®-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation.” His most recent solo album, Play, won the 2015 Grammy® Award for Best Classical Instrumental Solo and earned a place on NPR’s “50 Favorite Songs of 2014 (So Far)” for Vieaux’s recording of Zapateado. Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching, and recording commitments is distinguished throughout the U.S. and abroad. His solo recitals have been a feature at every major guitar series in North America and at many of the important guitar festivals in Asia, Australia, Europe, and Mexico. Vieaux returned to the Caramoor Festival as the 2017 Artist-in-Residence, a distinguished position which has been held by pianist Jonathan Biss, violinist Alisa Weilerstein, and many other world-class musicians in recent years. Other recent and future highlights include returns to the Philadelphia Chamber Music Society, New York’s 92Y, Ravinia Festival, and performances at Buenos Aires’ Teatro Colon, Amsterdam’s Concertgebouw, Seoul Arts Center, and Shanghai Concert Hall. Vieaux’s appearances for Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, Strings Music Festival, Grand Teton, and
ABOUT THE ARTIST many others have forged his reputation as a first-rate chamber musician and programmer. He collaborates in recitals this season with Escher Quartet; Grammy®-winning mezzo-soprano Sasha Cooke; violinists Anne Akiko Meyers, Kristin Lee, and Tessa Lark; acclaimed harpist Yolanda Kondonassis; and will tour the US with accordion/bandoneon virtuoso Julien Labro in support of their duo album Infusion, which was recently released on Azica Records to critical acclaim by classical and jazz critics alike. Vieaux’s passion for new music has fostered premieres of works by Avner Dorman, Dan Visconti, Vivian Fung, Keith Fitch, Kinan Abou-Afach, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin, Jeff Beal, Gary Schocker, and more. Jason Vieaux has performed as concerto soloist with over 100 orchestras, including Cleveland, Houston, Toronto, San Diego, Fort Worth, Buffalo, Arkansas, Edmonton, Illinois, IRIS Orchestra, Chamber Orchestra of Philadelphia, and Orchestra of St. Luke’s. Jason recently gave world premiere performances of Visconti’s “Living Language” Guitar Concerto with the California Symphony, Richmond Symphony, Fort Wayne Philharmonic, and Reading Symphony. During the 2017-18 season, Jason Vieaux will be concerto soloist with Columbus Symphony, Nashville Symphony, Eastern Music Festival Orchestra, and New Mexico Philharmonic. Vieaux continues to bring important repertoire alive in the recording studio as well. Upcoming recording projects include a new album with Escher Quartet featuring Boccherini’s Guitar Quintet and Aaron Jay Kernis’ 100 Greatest Dance Hits (Azica), Jeff Beal’s “Six Sixteen” Guitar Concerto with the Norrköping Symphony Orchestra (BIS), and Michael Leshnoff’s Guitar Concerto with the Nashville Symphony (Naxos). Recent recordings include Infusion (Azica), a collaboration with bandoneonist Julien Labro featuring the duo’s original arrangements of Leo Brouwer, Piazzolla, Radamés Gnattali, Pat Metheny, and Tears for Fears’ “Everybody Wants to Rule the World;” Ginastera’s “Guitar Sonata,” which is featured on Ginastera: One Hundred (Oberlin Music) produced by harpist Yolanda Kondonassis; and Together (Azica), a duo album with Kondonassis. Of his Grammy®-winning 2014 solo album Play, Soundboard Magazine writes, “If you ever want to give a friend a disc that will cement his or her love for the guitar, this is a perfect candidate,” while Premier Guitar claims, “You’d be hard pressed to find versions performed with more confidence, better tone, and a more complete understanding of the material.” Vieaux’s previous albums include a recording of Astor Piazzolla’s music with Julien Labro and A Far Cry Chamber Orchestra; Bach: Works for Lute, Vol. 1, which hit No. 13 on Billboard’s Classical Chart after its first week and received rave reviews by Gramophone, The Absolute Sound, and Soundboard; Images of Metheny, featuring music by American jazz legend Pat Metheny (who after hearing this landmark recording declared: “I am flattered to be included in Jason’s musical world”); and Sevilla: The Music of Isaac Albeniz, which made several Top Ten lists the year of its release. Vieaux’s albums and live performances are regularly heard on radio and internet around the world, and
ABOUT THE ARTIST his work is the subject of feature articles in print and online around the world, including such magazines as Acoustic Guitar, MUSO, Gramophone, and on NPR’s “Deceptive Cadence.” Vieaux was the first classical musician to be featured on NPR’s popular “Tiny Desk” series, on which he made a rare repeat performance in 2015 with Yolanda Kondonassis. In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides oneon-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at the Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001. Vieaux is affiliated with Philadelphia’s Astral Artists. His primary teachers were Jeremy Sparks and John Holmquist. In 1992 he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant. In 1995, Vieaux was an Artistic Ambassador of the U.S. to Southeast Asia. Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd and plays a 2013 Gernot Wagner guitar with Augustine strings.
MODLIN CENTER FOR THE ARTS
STAFF
ADMINISTRATION Executive Director Deborah Sommers Assistant Director Shannon Hooker Administrative Coordinator Beverly Bradshaw Student Program Associate Kacy Workman PRODUCTION Production Manager Sean Farrell Assistant Production Managers Patrick Kraehenbuehl Robert Richards Piano Tuner Ray Breakall Student Stage Managers: Olivia Barnum Emeline Blevins Gracie Carleton Alec D’Alessandro Jack Goodin Colby Heald Jonathan Knabe Jeff Noble Student Stagehands: Zack Cain Bailey Daigle Nathan Dinh Katerine Gkagkou Kevin Johnson Eugene Lin Grace Lynch Veronika Nesterenko
MARKETING & TICKET SALES Marketing Director Jonathan Gunter Student Marketing Manager Karissa Lim Student Publicity Assistants Margaret Johnson Uyen Lee Box Office Manager Jessie Haut Buford Box Office Associates Chantel Baker Mira Carroll Brier Clough Sal Girma Christopher Guarino Josh Hammond Alec Justice Ben LaRiviere Rachel Nugent William Purdum Yosan Teklezgi Lauren Wenslau ARTIST SERVICES Artist Services & Concessions Manager Jo Bachman Artist Services Coordinator Katherine DeLoyht
OPERATIONS & AUDIENCE SERVICES Operations and Front of House Business Manager Christopher O’Neil Front of House Coordinator Kim Chiarchiaro House Managers Katherine Deloyht Kim Chiarchiaro Daniel Hillard Jeff Karow Joey Luck Joia Nesby Tessa Rinnen Mitchell Sampson Student House Managers Hillary Acuna Brier Clough Rachel Lantz Luke Powers Student Head Ushers Unitha Cherry Kayla Connelly Stephani Desinor Sabrina Garcia Ray Hotta Mysia Perry Arya Pezhwak Michael Robinson Merchandise Associates Christopher Bowles Changil Neil Cho Isaiah Duplessis Joseph Maiarana
ACADEMIC PROGRAMS IN THE ARTS Erling Sjovold, Chair Department of Art & Art History
Jeffrey Riehl, Chair Department of Music
Johann Stegmeir, Chair Department of Theatre & Dance
Richard Waller, Executive Director UR Museums
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OPEN PRIOR TO PERFORMANCES AND DURING INTERMISSION modlin.richmond.edu (804) 289-8980
The University of Richmond’s 2017-2018 Tucker-Boatwright Festival of Literature and the Arts will be hosted by the Department of Theatre and Dance in collaboration with American Studies and Women, Gender, & Sexuality Studies. This year’s events will focus on the theme “The Personal is Political / The Political is Personal.” It will feature performances, lectures, and residencies by artists whose work reflects social and political concerns.
For a full schedule of events, visit http://as.richmond.edu/tucker-boatwright
DEPARTMENT OF THEATRE AND DANCE EVENT CALENDAR
a
O C TO B E R THUR.-SAT. 5–7 7:30 PM
Top Girls by Caryl Churchill
SUN. 8 2:00 PM
Top Girls by Caryl Churchill
NOVEMBER THUR.-SAT. 16–18 7:30 PM
The Crucible by Arthur Miller
SUN. 19 2:00 PM
The Crucible by Arthur Miller
FEBRUARY THUR.-SAT. 8–10 7:30 PM
Production Studies III Showcase
SUN. 11 2:00 PM
Production Studies III Showcase
THU. 22 7:30 PM
UNIVERSES, Party People Salon
MARCH FRI.-SAT. 2-3 7:30 PM
Converge, University Dancers Annual Spring Concert
SUN. 4 2:00 PM
Converge, University Dancers Annual Spring Concert
APRI L THUR.-SAT. 19-21 7:30 PM
Blues for Mister Charlie by James Baldwin
SUN. 22 2:00 PM
Blues for Mister Charlie by James Baldwin
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DEPARTMENT OF MUSIC EVENT CALENDAR
SEPTEMBER WED. 6 7:30PM FRI. 15 7:30PM MON. 18 7:30PM
David Esleck Trio Family Weekend Concert Anna Nizhegorodtseva, piano a
TUE. 10 7:30 PM
O C TO B E R
Eunmi Ko, piano
SUN. 29 3:00 PM UR Schola Cantorum and Women's Chorale MON. 30 7:30 PM Thomas Meglioranza, baritone and Reiko Uchida, piano
NOVEMBER FRI.-SAT. 3-4 multiple Third Practice Electroacoustic Music Festival SUN. 12 3:00 PM Global Sounds WED. 15 7:30 PM
UR Jazz Ensemble
SUN. 19 7:30 PM
UR Wind Ensemble
WED. 29 7:30 PM
UR Symphony Orchestra
MON. 4 7:30 PM
UR Chamber Ensembles
DECEMBER TUE. 5 7:30 PM
UR Jazz and Contemporary Combos
5:00 & SUN. 10 8:00 PM
44th Annual Festival of Lessons and Carols
WED. 31 7:30 PM
Richard Becker, piano
JANUARY
FEBRUARY Neumann Lecture on Music MON. 26 7:30 PM Music as Preparation for Life: Practice, Accompaniment, Improvisation, Dr. George Lipsitz, speaker
MARCH WED. 7 7:30 PM
Ensemble Arte
SUN. 25 3:00 PM Duo Piano Recital with Richard Becker and Doris Wylee-Becker MON. 26 7:30 PM
Bruce Stevens, organ
APRIL MON. 2 7:30 PM
UR Wind Ensemble
WED. 4 7:30 PM
UR Symphony Orchestra
SUN. 8 3:00 PM Global Sounds MON. 9 7:30 PM
UR Jazz and Contemporary Combos
WED. 11 7:30 PM
Mike Davison and the Latin Jazz Messengers
SUN. 15 3:00 PM UR Schola Cantorum and Women's Chorale WED. 18 7:30 PM
Cuban Spectacular
MON. 23 7:30 PM
UR Chamber Ensembles 5
UNIVERSITY MUSEUMS Lora Robins Gallery, The First Forty Years: From Found to Finished, Museum Studies Seminar Exhibition Through September 24, 2017 | Lora Robins Gallery of Design from Nature 19th-Century American Jugs: Relief Molded Pitchers from the Collection Through November 17, 2017 | Lora Robins Gallery of Design from Nature Turtles in Time: From Fossils to the Present Through May 11, 2018 | Lora Robins Gallery of Design from Nature The Personal is Political: Images of Women from the Harnett Print Study Center August 23, 2017 to July 2, 2018 | Modlin Atrium and Booker Hall Lobby Chasing Bugs: Insects as Subject and Metaphor August 23 to October 3, 2017 | Harnett Museum of Art
Théophile-Alexandre Steinlen (French, 1859-1923), En Belgique les Belges ont faim. Tombola artistique... (In Belgium the Belgians are hungry. Artistic raffle...), 1915, two-color lithograph on paper, 47 ¼ x 30 ¼ inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, H2017.06.01. © University of Richmond Museums, photograph by Taylor Dabney
Leonardo Drew: Print Series August 23 to December 8, 2017 | Harnett Museum of Art Annual Student Exhibition August 23 to September 17, 2017 | Harnett Museum of Art Iterations: Contemporary Approaches to Drawing September 15, 2017 to April 22, 2018 | Harnett Print Study Center Unexpected Smiles: Seven Types of Humor in Japanese Paintings October 18, 2017 to January 28, 2018 | Harnett Museum of Art WAR-DROBE: Fantasy & Exaggeration in Contemporary Japanese Fashion October 18, 2017 to January 28, 2018 | Harnett Museum of Art Steinlen: Humanity October 20, 2017 to March 30, 2018 | Harnett Museum of Art Teresa Cole: Installation Project October 27 to December 8, 2017 | Lora Robins Gallery of Design from Nature Museum Studies Seminar Exhibition February 6 to May 11, 2018 | Lora Robins Gallery of Design from Nature Stitching Culture: Chinese Embroideries from the Carver Collection February 8 to December 9, 2018 | Lora Robins Gallery of Design from Nature Bon à Tirer: Prints from the Center Street Studio Archives February 22 to May 11, 2018 | Harnett Museum of Art Maria Chavez: Sound Art Installation March 21 to May 11, 2018 | Harnett Museum of Art Senior Thesis Exhibition April 20 to May 10, 2018 | Harnett Museum of Art
University of Richmond Museums comprises the Joel and Lila Harnett Museum of Art, the Joel and Lila Harnett Print Study Center, and the Lora Robins Gallery of Design from Nature. Museum hours: Sunday through Friday, 1 to 5 p.m. (8/23/2017 - 5/11/2018), Closed Labor Day Weekend (9/2 – 4/2017), Fall Break (10/13 – 16/2017), Thanksgiving Week (11/18 – 26/2017), Semester Break (12/9/2017 – 1/17/2018), Spring Break (3/10 – 18/2018), Easter Weekend (3/31 – 4/1/2018), and Summer Break (5/12 – 8/21/2018). For group visits and tours, call Martha Wright at (804) 287-1258, or email mwright3@richmond.edu (804) 289-8276 | Admission is free to all University Museums | museums.richmond.edu
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GENERAL INFORMATION
PA R D O N O U R P RO G R E S S
In our continued effort to remain one of Richmond’s premier venues for performing arts, Booker Hall of Music will be undergoing renovations during the 2017-2018 season. Camp Concert Hall will remain open but balcony seating may by unavailable for select performances. For information regarding which performances may be impacted, contact the Modlin Center box office at (804) 289-8980.
BOX O F F I C E
TICKETS MAY BE PURCHASED online at modlin.richmond.edu, in person at the Modlin Center box office, or by phone at (804) 289-8980. August through April, the Modlin Center box office is open from 10 AM to 5 PM, Monday through Friday, and beginning 90 minutes prior to most performances. Visit modlin.richmond.edu or phone (804) 289-8980 for a list of summer hours. All patrons must have a ticket to gain entry into the performance hall. DISCOUNTED TICKETS ARE AVAILABLE for Modlin Center Members at the Partner level or above, subscribers, senior citizens age 62 and older, children age 12 and younger, groups of 20 or more, University of Richmond (UR) employees and students, Osher Lifelong Learning Institute members, and non-UR students with a valid student ID. Multiple discounts do not apply. SAFETY AND DISRUPTIONS: Please contact the Modlin Center box office to find out if a performance is suitable for young audiences. All patrons, including infants and children, must have a ticket to gain entry into the performance hall. Please be considerate of other audience members. Disruptive patrons will be asked to exit the performance hall. Use of hand-held electronic devices during performances is strictly prohibited. Use of such devices may result in confiscation of the device or removal from the venue. ACCESSIBILITY: When purchasing tickets, please inform the box office of any required accommodations. If tickets are purchased in accessible sections by patrons that do not require accessible seating, those patrons can be moved at the discretion of house management. Largeprint programs, assistive-listening devices, and earplugs are available at the will-call desk for most performances. All performance halls are accessible to persons with wheelchairs and/or limited mobility. Accessible parking also is available. Please contact the Modlin Center box office or visit modlin.richmond.edu for parking information. When attending an event, please allow time for parking and ticket retrieval. Late seating will be at the discretion of house management.
I N C L E M E N T W E AT H E R
CANCELLATION: Performances will only be cancelled in cases of extreme weather conditions. If the artist(s) have arrived in Richmond, the show will likely proceed. For information regarding the status of an event, visit modlin.richmond.edu or call the box office at (804) 289-8980. PLEASE NOTE THAT REFUNDS WILL NOT BE GIVEN unless a performance is cancelled. PROGRAMS: All programs are subject to change. PLEASE NOTE THAT ALL SALES ARE FINAL. Refunds will not be given unless a performance is cancelled. Subscribers and Members and the Partner Level or higher may exchange tickets for a future event up to 24 hours prior to a performance.
B ECO M E A M O D L I N C E N T E R S U B S C R I B E R !
Purchase tickets to four or more performances to become a Modlin Center Subscriber. Subscribers enjoy the following benefits: • • • •
PICK FOUR: Choose four or more performances to create your custom season subscription. SAVE: Modlin Center Subscribers enjoy a 20% discount on performance tickets throughout the season. GET PRIORITY ACCESS: Modlin Center Subscribers are able to purchase tickets before single-event ticket buyers. ENJOY FLEXIBILITY: Only Modlin Center Subscribers and Members at the Partner level or above are permitted to exchange their tickets.
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MEMBERSHIP B ECO M E A M O D L I N C E N T E R M E M B E R Become a Modlin Center member and be part of one of the region’s top performing arts centers. Your support is vital in our mission to present diverse and vibrant arts experiences that inspire, engage, and enrich the community on and off the University of Richmond campus.
Your financial gift supports important programs including: • • • •
THE MODLIN CENTER SCHOOL SERIES, which provides yearly programming to school children at a free or reduced cost to schools. OPPORTUNITIES TO LEARN FROM ARTISTS through pre-concert Artistic Viewpoints discussions, Modlin Arts After Words post-show question-and-answer sessions, master classes, workshops, and additional free, interactive opportunities with artists. COMMISSIONING of new works. OPPORTUNITIES FOR THE COMMUNITY to gather and network during pre- and postshow receptions.
TO BECOME A MODLIN CENTER MEMBER, please review the categories and benefits below and select the membership level that is right for you. You tax-deductible contributions can be made online at modlin.richmond.edu, or by entering your donation amount on the brochure order form and mailing to: Modlin Center for the Arts, 28 Westhampton Way, University of Richmond, VA 23173.
PATRON OF THE ARTS – $10,000+ E. Rhodes & Leona B. Carpenter Foundation The Cultural Affairs Committee Mid Atlantic Arts Foundation H. G. Quigg Endowment
BACKSTAGE CIRCLE – $5,000-$9,999 Mayo Arts Fund New England Foundation for the Arts Danny & Barrie Shapiro
INVESTOR – $1,000-$2,499 Anonymous
PARTNER – $500-$999 Anonymous Anonymous Karen C. Baswell Dr. Simeon Chow Edward Villanueva
ADVOCATE – $250-$499 Anonymous Pamela K. Bomboy Rosa Bosher Andy & Laura Ferguson Anne & Steve Knudsen Nelson & Sherron Marquina Andy Newcomb & Judy Meister Dr. Thomas Robertson & Dr. Cynthia Ryan Bruce B. Stevens
Robert M. & Anne B. Terry Dr. & Mrs. Wilhelm Zueler
MEMBER – $100-$249 Mrs. Susan G. Abrams Anonymous Anonymous Anonymous Anonymous Anonymous Steve & Laurie Bacon Allison & Alan Ball Betsy & Chris Bredrup Judi & Martin Caplan Bernardo Nuñez & Terry Cavanaugh Nicholas & Ellen Cooke Michael and Terri Cuthriell Dr. & Mrs. Demian Mike Kastner & Mindy Fast Mrs. & Mr. Flowers Nicholas & Susan Kappel Melissa & Nidal Mahayni Heather Krajewski & Robb Moore MSgt. Michael Morehouse Linda & Ken Owens Roseanna Smith Thomas R. Smith Tim & Ashley Villanueva Archi & Elaine Yeatts
OUR SPONSORS THE MODLIN CENTER WOULD LIKE TO THANK OUR SPONSORS AND COMMUNITY PARTNERS E. Rhodes and Leona B. Carpenter Foundation
The Cultural Affairs Committee H. G. Quigg Endowment Mayo Arts Fund Cover: Cover: University Dancers © Eibhlin Villalta; UNIVERSES © Kevin Berne; Alicia Olatuja © Harrison Weinsstein iPotography; Steven Page © John Lauener; Doug Varone Dancers’ Bone Wilson, Burley Yamauch, Dufrene Tang, and Springer Bartlett © Erin Baiano; Wynton Marsalis © Danny Clinch Pg. 3: Cécile McLorin Salvant © Mark Fitton; Alicia Olatuja © Harrison Weinstein Photography Pg. 7: Eddie Palmieri © TK; L.A. Dance Project © Merce Cunningham Pg. 20: University Dancers © David Van Gelder
*Priority ticket processing applies to Modlin Center events only and does not apply to University of Richmond or outside rental client events that take place at the center. Your gift may also qualify you for other recognition through the University of Richmond. For more information or questions related to tax deductibility, please contact the Office of Annual Giving at (804) 289-8052 or by email at annualgiving@richmond.edu.
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Learning is refreshing. At any age.
The Osher Lifelong Learning Institute at the University of Richmond is a unique lifelong learning program that seamlessly blends classroom experiences, interest groups, volunteer leadership opportunities and special events. For people 50 and better. Memberships start at $75.
VISIT US ONLINE OR CALL (804) 287-6608 TO REQUEST A CURRENT SCHEDULE OF CLASSES. osher.richmond.edu
VIRGINIA
ARTSFESTIVAL presents
UNFORGETTABLE PERFORMANCES, WORTH THE TRIP FROM ANYWHERE.
YO-YO MA, CELLO and KATHRYN STOTT, PIANO NOVEMBER 7
CHRYSLER HALL, NORFOLK
VIENNA BOYS CHOIR DECEMBER 20
ST. BEDE CATHOLIC CHURCH, WILLIAMSBURG
DECEMBER 21
SANDLER CENTER FOR THE PERFORMING ARTS, VIRGINIA BEACH
PLUS DOZENS MORE PERFORMANCES IN VENUES THROUGHOUT SOUTHEASTERN VIRGINIA. INFORMATION AND TICKETS
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PLACE YOUR AD HERE RESERVE YOUR SPACE NOW FOR THE 2018-2019 SEASON PLAYBILL! CONTACT: JARED ROSS AT (804) 614-5740 OR JARED@ROSSPUBLISHING.COM MODLIN.RICHMOND.EDU | (804) 289-8980
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Back Cover: Chop Suey Books