PAC Program Book 2013- 2014 Season

2013-2014

E C N A D C I S MU ATRE E H T M L I F

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Steinway & Sons is honored to support The Performing Arts Center at Purchase College, and to play our part in helping its gifted performers to attain an uncompromising level of musical inspiration.

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toast; to express respect, admiration and recognition by raising a glass.

Pernod Ricard USA Toasts The Performing Arts Center at Purchase College.

Here’s to a successful 2013–2014 season!

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IT’S EASY TO SPOT A PURCHASE STUDENT. THERE’S NO ONE ELSE LIKE THEM. Purchase has a talent for attracting the multi-talented. Passionate, creative, driven and diverse, our students are (ironically) alike in their desire to make a difference, explore the possibilities and celebrate their individuality.

For more information call 914.251.6300 or visit purchase.edu/buildyourself.

President’s Message Dear Friends: Welcome to Purchase College and its Performing Arts Center.

The words EXPERIENCE. SOMETHING. REAL. appear on the large banner as you enter campus and capture the essence of what is on offer at The Performing Arts Center.

From our opening performance by Cassandra Wilson, to the blending of edgy and traditional in the chamber music by the Decoda ensemble, we can guarantee that an afternoon or evening will be well spent. We welcome back the Orpheus Chamber Orchestra, the Mariinsky Orchestra, and Doug Varone and Dancers. Michael Feinstein will entertain with an evening of Gershwin. Flamenco, Film, and Fantasy: all are on tap at the PAC. We hope that you enjoy your visit to campus. Immediately across from the entrance to The Performing Arts Center is our Passage Gallery, used for displays of work by our students, faculty, and staff. On the plaza, please visit the Neuberger Museum of Art and the Richard and Dolly Maass gallery housed in our School of Visual Arts.

Surrounding the plaza are our academic buildings and our library. The proximity of these buildings to our Performing Arts Center is a reflection of our mission to pair the arts with the liberal arts.

Our School of the Arts with its Conservatories of Dance, Music, Theatre Arts, and School of Art+Design is a vital component of The Performing Arts Center. The Performing Arts Center serves as the School’s incubator, offering an important venue to students for their practices, performances, and perfection of skills.

Our School of Liberal Arts and Sciences offers a well-rounded education featuring opportunities for interaction with the arts, particularly within the interdisciplinary programs of our School of Film and Media Studies, Journalism, and Arts Management.

We continue to expand our Liberal Studies & Continuing Education programs, now featuring ever increasing numbers of online courses in January and the summer to accommodate all learners.

We are committed to excellence in our academics and in our programming. The campus community continues to improve as more students choose to live on campus, participate in our academic and performance programs and our extracurricular activities. We invite you to become a part a part of this community by attending our vast array of productions and exhibitions, courses by our outstanding faculty, lectures , and sports events.

Our sincere appreciation to all of you who have generously supported The Performing Arts Center, the Neuberger Museum of Art, and the students of Purchase College.

Your continued support of our programs is vital to the mission and livelihood of our institution.

Enjoy your time at Purchase College, Thomas J. Schwarz, President, Purchase College

“ We make a living by what we get,

but we make a life by what we give.”

– Winston Churchill

THE CAMPAIGN FOR 2013-2014 You make it all possible. Ticket sales only partially cover The Center’s expenses, and so it is your donations that keep the curtain rising season after season.

Please consider a gift to the annual fund today by adding a donation to your ticket purchase price. Your passion for the arts and your love for The Performing Arts Center will help ensure its continued success, and we are most grateful for your loyalty and support.

For more information about giving opportunities, please call Sarah Recca at 914-251-6189.

YOU can make a difference.

Thank you!

Pictured: Martha Graham Dance Company © John Deane

Director's Message

Welcome!

“In spring you spring forward” goes the saying, reminding us all to set our clocks an hour ahead each year. And each spring here at The PAC, we take this saying to heart, and spring forward with plans for our upcoming season.

Now, I don’t want to spoil any surprises (theater returns to The PAC) or show off by dropping too many names (Branford Marsalis), but I will say that 2014-2015 is shaping up to be the most exciting, varied, and jam-packed season we’ve had in years. We’ll be announcing the complete line-up and kicking off subscription renewals in early April, so be sure to keep an eye on your virtual and physical mailboxes.

But until then, let’s not get ahead of ourselves. After all, this season isn’t over yet, and some of the best is yet to come. For families, we’ll be presenting an old favorite, The Mermaid Theatre of Nova Scotia’s glowing puppet production of The Very Hungry Caterpillar.

The American Symphony Orchestra will finish out our Great Orchestras series; on the program are works by Strauss, Brahms, and Conus, spotlighting violin soloist Zhi Ma. And then, forget everything you’ve ever known about classical ballet and come see The Trocks (aka Les Ballets Trockadero de Monte Carlo)… this all-male troupe dances in tutus, en pointe… need I say more? Check out the full schedule on our website at www.artscenter. org so you don’t miss a thing.

And please remember, we can’t do any of this without your support. The PAC’s Snazzy Bash is coming up on May 3rd, consider joining us for a glam evening of cocktails, dinner, and prime seats for Michael Feinstein; bring your dancing shoes for our very own swingin’ dance party after the show! Who could ask for anything more? (See pages 38-39 for more details.)

Thank you so much for joining us today and for taking this journey with us. I hope that you will go home and tell your friends all about what you have experienced, and that you will be back again soon.

I’ll see you in the lobby!

Harry McFadden Director, The Performing Arts Center, Purchase College

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The Performing Arts Center is supported by:

The Vivian and Seymour Milstein Endowed Fund The Great Orchestras and Chamber Music Series are made possible by generous support from the Tanaka Memorial Foundation.

Special thanks to our corporate sponsors:

Steinway & Sons is the ofďŹ cial piano of The Performing Arts Center.

Special thanks to our media sponsors:

Performances by world-class artists are all made possible by your generous gifts to The Performing Arts Center

Please make your gift today to The PAC’s Annual Fund.

Your donation makes the crucial difference.

Thank you.

Contact Sarah Recca, Associate Director of Development, 914-251-6189 sarah.recca@purchase.edu The Performing Arts Center Foundation P.O. Box 140 Purchase, NY 10577

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Calendar of Events 2013-2014

4

September 9/24 9/27 9/28 9/29

Tue Fri Sat Sun

7pm 7:30pm 8pm 5pm

Talk Cinema Purchase Symphony Orchestra A Night in Paris Cassandra Wilson Denis O’Hare An Iliad

October 10/12 10/13 10/18-19 10/19 10/19 10/23-26 10/26 10/26 10/26 10/27 10/29

Sat Sun Fri-Sat Sat Sat Wed-Sat Sat Sat Sat Sun Tue

8pm 3pm 7:30pm 1:30pm 8pm 7:30pm 10am 1:30pm 8pm 3pm 8pm

Mariinsky Orchestra Gabriela Montero, piano The Master and Margarita The Master and Margarita Martha Graham Dance Company The Master and Margarita Talk Cinema The Master and Margarita Savion Glover STePz Imani Winds Irish Chamber Orchestra w/ Sir James Galway & Lady Jeanne Galway, flute

November 11/1-3 11/8-9 11/9 11/9 11/12 11/13-16 11/15-16 11/16 11/16 11/17 11/22

Fri-Sun Fri-Sat Sat Sat Tue Wed-Sat Fri-Sat Sat Sat Sun Fri

7:30pm 1:30pm 8pm 7pm 7:30pm 7:30pm 1:30 8pm 2pm 8pm

December 12/3 12/6 12/7 12/7 12/7 12/8

Tue Fri Sat Sat Sat Sun

7pm 7:30pm 1:30pm 7:30pm 8pm 3pm

Crafts at Purchase The Inspector General The Inspector General Doug Varone and Dancers Talk Cinema The Inspector General Fall Opera Hansel & Gretel The Inspector General Joshua Bell, violin Fall Opera Hansel & Gretel Yamato: The Drummers of Japan

Talk Cinema Joe Turner’s Come and Gone Joe Turner’s Come and Gone The Beauty Queen of Leenane Vienna Boys’ Choir Christopher O’Riley & Matt Haimovitz, piano/cello

December (cont.)

12/11 Wed

7:30pm

12/11 12/12 12/13

Wed Thu Fri

7:30pm 7:30pm 7:30pm

12/13-14 12/14 12/14 12/14-15 12/15

Fri-Sat Sat Sat Sat-Sun Sun

7:30pm 1:30pm 7:30pm 1pm 5pm

January 1/26

Sun

3pm

1/28

Tue

7pm

February 2/7 2/7 2/8 2/8 2/9 2/12-15 2/15 2/15 2/18 2/21

Fri Fri Sat Sat Sun Wed-Sat Sat Sat Tue Fri

7:30pm 8pm 1:30pm 7:30pm 3pm 7:30pm 1:30pm 8pm 7pm 7:30pm

Purchase Symphonic Winds The Golden City: Music for Winds The Beauty Queen of Leenane Joe Turner’s Come and Gone Purchase Symphony Orchestra Finnish Adventure The Nutcracker ’13 The Beauty Queen of Leenane Joe Turner’s Come and Gone The Nutcracker ’13 The Nutcracker ’13

Orpheus Chamber Orchestra w/Nobuyuki Tsujii, piano Talk Cinema

2/22 Sat 2/23 Sun 2/28-3/1 Fri-Sat

8pm 3pm 7:30pm

Museum Garrick Ohlsson, piano Museum Museum The Crossroads Project Museum Museum Dr. John Talk Cinema Purchase Symphony Orchestra Flute in the House!

Upright Citizens Brigade Touring Company Kim Kashkashian, viola The Comedy of Errors

March 3/1 3/1 3/2 3/5-8 3/7 3/8 3/13-15

10am 1:30pm 3pm 7:30pm 8pm 1:30pm 7:30pm

Talk Cinema The Comedy of Errors Decoda The Comedy of Errors Dervish: Music of Ireland The Comedy of Errors Spring Opera: A Midsummer Night’s Dream

Sat Sat Sun Wed-Sat Fri Sat Thu-Sat

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Calendar of Events 2013-2014

March (cont.)

3/15 Sat 3/16 Sun 3/18 Tue

2pm 3pm 7pm

Spring Opera: A Midsummer Night’s Dream Flamenco Vivo Carlota Santana Talk Cinema

April 4/5 4/6 4/10

Sat Sun Thu

8pm 3pm 8pm

4/12 4/13 4/18-19 4/19 4/23-26 4/25

Sat Sun Fri-Sat Sat Wed-Sat Fri

8pm 3pm 7:30pm 1:30pm 7:30pm 7:30pm

4/25-26 4/26 4/26-27 4/29 4/30

Fri-Sat Sat Sat-Sun Tue Wed

8pm 1:30pm 2pm 7pm 7:30pm

Chanticleer The Very Hungry Caterpillar American Symphony Orchestra w/ Zhi Ma, violin Les Ballets Trockadero de Monte Carlo eighth blackbird Blood Wedding Blood Wedding Blood Wedding Purchase Symphony Orchestra Symphonic Titans Spring Dance Concert 2014 Blood Wedding Spring Dance Concert 2014 Talk Cinema Purchase Symphonic Winds This Green and Pleasant Land

May 5/3 5/4 5/13

Sat Sun Tue

8pm 3pm 7pm

Michael Feinstein’s The Gershwins and Me Aspen Santa Fe Ballet Talk Cinema

All programs, artists, and dates are subject to change.

Previously featured...

The Artist Silver Linings Playbook Melancholia

say you t saw i here first

son b o c a nJ

’s

a m e n i C Talk

Har la

We won’t tell you in advance what future hit you will see, but we can tell you it will be the talk of the town.

The Talk Cinema series at The Center.

Pre-release screenings of the season’s hottest indy and foreign films, plus post-film Q&As with industry insiders.

Tuesdays at 7pm: 9/24, 11/12, 12/3, 1/28, 2/18, 3/18, 4/29, 5/13 NEW this season! Saturdays at 10am: 10/26 and 3/1 Tickets now on sale Individual screenings $20 Three-pack pass $52.50 Season subscription $175

914.251.6200 www. artscenter.org

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Derv is 8pm

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Photo: www.dervish.ie

Frida y, Ma rch 7 ,

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Program

Music from the West of Ireland with Passionate Vocals and Dazzling Instrumentals The Sligo Borough Council’s decision to award Dervish the Freedom of the Borough of Sligo cemented the group’s position as preeminent band in Ireland’s wild west. It raised them into the exalted company of poet W.B. Yeats, who was the first person to be awarded the freedom of Sligo.

Built upon two sturdy pillars — the hauntingly charismatic vocals of Cathy Jordan and the dazzling virtuosity of award-winning instrumentalists Tom Morrow on fiddle, Liam Kelly on flute, and Shane Mitchell on accordion, Dervish is a solid structure of a band, its foundation in legendary pub sessions, its shape the result of years of international touring. The solid rhythm playing of Brian McDonagh and Michael Holmes drives the band, whose concert performances are a myriad of tones and moods ranging from high energy tunes, played with fluidity and intuitiveness, to beautifully measured songs, from charming lyrics of life and love, to inspiring melodies that lift audiences from their seats. All the elements are drawn together by Cathy Jordan’s masterful stage presence. Her stories to the songs and her interaction with the audience draws people into the music in a way very few performers can achieve.

Beck, and many more. Dervish is a band that both celebrates Irish music and has been instrumental in bringing it to a worldwide audience.

FLiArtists Folklore, Inc.

Mitchell Greenhill President Matthew Greenhill Vice-President The Roots & The Branches Music Representation Established 1957 by Manuel Greenhill POST OFFICE BOX 7003, SANTA MONICA, CA 90406-7003 (310) 451-0767 FAX (310) 664-0767 info@folkloreproductions.com www.folkloreproductions.com

Now, more than twenty years since first coming together and with four of the original members still at the helm, Dervish are more in demand than ever. Their colorful career has taken them to every corner of the globe and has seen them share center stage with such names as James Brown, The Buena Vista Social Club, Oasis, Sting, REM, 9

About the Artists

Dervish The story so far: From the Great Wall of China to packed auditoriums in the Holy Land and more recently being the first Irish band to perform at the greatest music festival in the world, Rock in Rio, on front of an audience of around 250,000 people, Dervish have come a long way in 20-odd years. Formed in 1989 by a group of five musicians—Liam Kelly, Shane Mitchell, Martin Mc Ginley, Brian McDonagh, and Michael Holmes—who came together to record an album of local music which was released as The Boys of Sligo. Inspired by the project, they decided to develop this informal gathering (which gathered weekly to play sessions in local pubs) into a working band under the name Dervish, which was chosen as it related to any group of spiritual people who become enraptured by music.

In 1991, Roscommon-born singer Cathy Jordan and All Ireland champion fiddle player Shane McAleer joined the band, giving them the right balance to produce the first Dervish album, Harmony Hill, which was released in 1992. The album was described by many as “a landmark Irish traditional album.” Its artistry, musicianship, and maturity won outstanding praise from the media, placing Dervish in the forefront of the bands working on traditional Irish music. Substantial TV and radio exposure began to open all kind of doors. Dervish soon became one of the most sought after acts on the live music circuit worldwide and have continued to remain so over the years.

This demand led to the band touring continuously throughout 1993 and performing at all the major folk festivals. The following year their keenly awaited second 10

album, Playing With Fire, was released.

The album reached number 1 in the Irish Folk Music Charts and World/Roots music charts internationally and stayed on top for several months, confirming Dervish’s status as the pre-eminent Irish traditional band.

With their reputation firmly established, Dervish now set their sights on the American market, signing a deal with the New Yorkbased Kells Music. The release of their two albums in the USA saw the demand for the band take off dramatically. Performances at highly regarded festivals such as Wolf Trap and the Milwaukee Irish festival projected Dervish into a new sphere of operation on a worldwide scale. Appearances at festivals such as City Stages in Birmingham, Alabama, saw Dervish bring Irish music far beyond the Irish/American music circuit in the US. Recognition for the band’s achievements followed, with nominations and awards in a variety of traditional/folk music polls including two in the IRMAs in Ireland.

In 1996 Dervish released At the End of the Day, which won them the Hot Press Folk Album of the Year Award. In the same year the band performed a series of shows in Hong Kong and Malaysia which opened the door to the Far Eastern market.

The double album Live in Palma, a live recording at Palma de Majorca’s Teatre Principal in April 1997, allows the listener to savor the atmosphere (music, melodies, and witty banter) only a live recording can provide. The same year the readers of Irish Music Magazine awarded Dervish Best Overall Trad/Folk Band of the Year.

1998 started with a six-week coast to coast

sell out tour of the USA and a first ever Irish tour which enjoyed considerable success.

That year also saw a slight reshuffle of the group, with Shane McAleer taking a career break. Luckily, a formidable replacement was found in Sligo’s own Séamus O¹Dowd, a musician of high standing with a distinct Sligo style fiddle playing and incomparable guitar playing. Just before the end of the year, the addition of fiddle player Tom Morrow, a native of County Leitrim and another All Ireland Champion, completed the present line-up of the band.

In 1999 the new look Dervish took to the studio, bringing with it a bigger sound prompted by the seven-piece line up: Cathy Jordan (vocals, bodhrán, bones), Tom Morrow (fiddle, viola), Shane Mitchell (accordion), Liam Kelly (flute, low whistle), Séamus O¹Dowd (guitars, harmonica), Michael Holmes (bouzouki), and Brian Mc Donagh (mandola, mandolin). The resulting album, Midsummer’s Night, was voted Irish Trad Album of the Year by many publications.

To celebrate ten years together, Dervish released Decade in March 2001. Decade is a compilation of some of the finest tracks from their five highly acclaimed albums of Irish traditional music recorded over the last ten years. Around this period great innovation was happening in the Dervish rehearsal room and on stage which led to the release of Spirit. This was an album that gave a new focus to the arrangement and production of the band’s sound, having a firmly Roots feel but contemporary in nature.

In this year Dervish had their proudest moment to date when Sligo City Council bestowed the Freedom of the Borough of Sligo on the band for their international

artistic achievements and their dedication and promotion of their local heritage.

In 2006 the Taoiseach (Irish Prime Minister) Bertie Ahern invited Dervish to accompany the country’s biggest ever trade mission which was to China. Dervish performed to a gathering from the Chinese government on this trip, further confirming the band as a national jewel of Ireland. Also in 2006 the band released an album from their rapidly expanding back catalogue. A Healing Heart featured slower material recorded over the years, showing the softer side of Dervish.

In 2007 Dervish were asked to perform on the longest running radio show in the US, A Prairie Home Companion hosted by Garrison Keillor, to an estimated 2 million listeners across America. In October 2007 Dervish released to great acclaim their long awaited new album Traveling Show, the songs of which are produced by the legendary John Reynolds (well known for his production work on albums for Sinead O’ Connor, Damien Dempsey, John Spillane, etc.). With a more contemporary sound, Dervish gave new life to the old Cher hit “Gypsies, Tramps and Thieves,” a haunting Suzanne Vega track, “The Queen and the Soldier,” and a brand new song from Canadian- based singer /songwriter Dan Frechette entitled “My Bride and I.” In 2007 they were also chosen by the top broadcasting board of Ireland, RTE, to represent their country in the Eurovision Song Contest, broadcast that year from Helsinki to an estimated audience of 500 million. This was an incredible honor for them as a group and also a major opportunity to fly the flag for traditional Irish music around the world.

11

About the Artists

The couple of years that followed Saw Dervish touring extensively throughout Europe, the US, Scandinavia, and Japan and also accompanying Ireland’s president, Mary McAleese, on official state missions to Latvia and Lithuania to represent Irish culture to the business and state leaders of both countries. They also found the time to make a series of fourteen hour-long radio shows for broadcast in conjunction with NPR in the US. These programs, called Irish Heartbeat with Dervish, presented by Cathy and with Dervish as the house band, featured special live performances from the cream of Irish talent. Guests included Brian Kennedy, Moya Brennan, Frankie Gavin, Seamus Begley, Martin O Connor, Rick Epping, Seamie O Dowd, The Saw Doctors, Kila, David Norris, Paddy Moloney, John Spillane, and the Celtic Tenors, to name but a few. The programs are still being aired in Scotland, Ireland, and America.

2010 marked Dervish’s 21st anniversary, and to celebrate the occasion they brought out the album From Stage to Stage featuring live concert footage from both sides of the Atlantic with special guests Ron Sexsmith, Duke Special, Vasen, Martin Hayes, Denis Cahill, and Mike Marshall. The anniversary was also marked by four very special concerts to bring together musicians from different countries who had inspired and influenced Dervish. The first, at the largest Celtic music festival in the world — Celtic Connections in Glasgow — featured duets with Cathy and Kate Rusby and Moya Brennan as well as instrumental duets with Mike McGoldrick, Martin Hayes, Kevin Burke, and Sweden’s Vasen. The second, to a packed 3,500 seat dome at Shrewsbury folk festival, also included duets, this time 12

with Steve Knightly, Andy Irvine, Moya Brennan, and Karen Matheson. The third, a sell out of The National Concert Hall Dublin, too saw memorable collaborations with the likes of Damien Dempsey, Martin Hayes and Dennis Cahill, and Triona Ni Dhomhnaill.

The final of these celebratory concerts was at Christmas 2010 in Sligo to a massive hometown audience with special guests Eddi Reader, Tom Baxter, Moya Brennan, and Triona Ni Dhomhnaill, plus over 30 other guest singers, dancers, and musicians.

A magnificent ending to a memorable year for the band...

2011 saw Dervish get lost in the beautiful County Leitrim countryside as the band were asked by the local council to be the official band in residence. This turned out to be a valuable and inspirational project for the band. Not only had three band members proud Leitrim connections (Liam, Shane, and of course Tom being a native) but the county has a strong music tradition that was much admired by Dervish. It saw the band find new songs and tunes, meeting truly wonderful characters and musicians of all age groups, in some of the most remote places in Ireland. The project prompted an album featuring some of these musicians, The Leitrim Equation.

2012 was a year when the wider music community became aware of the creative and writing skills of Dervish. The band was invited to become part of a distinguished project of writers as part of newly developed James Grant/EMI Play music library in London, to write for TV and film.

They were also honored to provide music for a top new Irish movie, Calvary. The band signed a publishing deal with the Bucks

Music Company in London. The band were also putting together material for a brand new studio album which they recorded in (what must be some sort of record) five days. The Thrush in the Storm was born and released to the world in April 2013.

It’s now over 20 years since first coming together and, with four of the original members still at the helm, Dervish are more in demand than ever. Their career has taken them to every corner of the globe and has seen them share center stage with such names as James Brown, The Buena Vista Social Club, Oasis, Sting, REM, Beck, and many more. Dervish are one of the most respected acts in World/Roots music worldwide. Their musical genius and innovative approach will ensure that they will be always be a leading force in Irish music, bringing the world the joy, excitement, and fun that is traditional Irish music.

Brian McDonagh mandola, mandolin Brian is an ex-founding member of traditional group Oisin, who enjoyed extensive success in the 70’s. He is originally from Dublin but moved to Sligo twelve years ago after leaving Oisin. He has extensive experience touring and playing on the international circuit. He is also an established painter in Ireland and has had many exhibitions at home and on the continent.

Liam Kelly flute, whistles Liam Kelly is a native of Sligo and a founding member of the band.

He began playing traditional Irish music at a very young age, born into a musical family. He started on the accordion but later switched to the whistle and in turn the flute, mainly learning from local player Carmel Gunning. He is a veteran of many competitions, where he met Shane Mitchell.

This friendship lead to Poitin, a traditional group they formed while still at school.

The level of success and media attention this group received was remarkable, including several TV and radio appearances and success in many competitions. Major concerts and tours were offered on the strength of their performances, but exam pressures and their young ages prevented them from capitalizing on their success.

Liam’s role in the band is a central one, as Dervish’s core sound revolves around the tight and intuitive interplay between Flute, Accordion and Fiddle. In 2009 Liam released a solo album called Sweetwood to celebrate 20 years in Dervish, which features Michael Holmes on the Bouzouki and Donnchadh Gough on the Bodhran.

Tom Morrow fiddle, viola Tom is the newest member of Dervish, joining the group in October 1998, and is also the youngest band member. Tom is a native of Carrigallen in County Leitrim and is the eldest of a musical family. He began playing music at an early age with Tommy Maguire, a native of Glenfarne, County Leitrim. He has played extensively with a wide range of musicians around Leitrim and Cavan including the Cornafean Group and Antoin McGabhann.

While studying in Limerick, he was part of the vibrant session scene that existed 13

About the Artists

in the area. Tom then lived and worked as a software consultant in Dublin for five years. During this time he played with many groups and musicians including the Mick O’Brien band and the Conor Byrne group as well as been a regular participant in sessions in Dublin and throughout the country. He has won numerous awards including the All Ireland senior fiddle championship. He has toured extensively in Europe, North America, and Asia.

Shane Mitchell accordion Shane Mitchell is a native of Sligo and a founder member of the band. He learned the accordion from well-known Sligo accordion player Alphie Joe Dineen.

From a very young age Shane frequently found himself drawn to local sessions as well as competing with regular success in competitions. It was in this environment that he first met Liam Kelly and later while still in school they formed a traditional group, Poitin. The band met with great success, but school pressures and their relatively young ages kept them from capitalizing on this. The accordion is one of Dervish’s core instruments, interacting in a tight and intuitive way with flute and fiddle. Shane plays a Briggs accordion from Doug Briggs in England.

Cathy Jordan vocals, bodhran, bones Cathy Jordan was born in Scramogue, County Roscommon, the youngest of seven children. Her love for traditional singing and music in general was instilled at a young age, and music and song was 14

abundant in her house as she grew up. Her parents were both singers, as were her siblings, and Cathy herself had a repertoire at the age of three. Alongside traditional music, Cathy was exposed to lots of other types of music from the vast collection of recordings found in her house that had been sent for relations in America. She began singing publicly at all kinds of Feiseanna and concerts as a child and played leading roles in musicals at school in Laensboro, County Longford: Dorothy in The Wizard of Oz, Ado Annie in Oklahoma, and Eliza Doolittle in My Fair Lady. On weekends Cathy played in numerous bands throughout the midlands, winning The Longford Leader entertainer of the year in 1985. After finishing school Cathy worked as a radio DJ on Elphin Radio and Independent Radio Longford, as well as playing numerous gigs at the weekends. She is a self taught guitar, bodhran, bones, and bouzouki player.

In 1991 Cathy joined Sligo-based traditional group Dervish and started her recording career with the Dervish album Harmony Hill to huge critical acclaim. This saw Cathy returning to her roots of traditional music and song and sparked off a musical journey which has spanned over two decades.

During that time Cathy has been the front woman and bodhran player with the group and has led them through thousands of concerts in hundreds of cities in nearly 40 countries. In 2000 Cathy had the honor of singing with the National Concert Orchestra as part of a show called “Waves” composed

by Charlie Lennon and conducted by Prionnsias O’Duinn.

From 1991 to 2007 Cathy performed on and co-produced eight Dervish albums:

Harmony Hill, Playing With Fire, At the End of the Day, Live in Palma, Midsummer’s Night, Decade, Spirit, and Healing Heart. Traveling Show saw her songwriting debut with two tracks, “Lord Levett” and “Grainne,” the latter a collaboration with Nashville songwriter Sharon Vaughn. Cathy has since co-written songs with Brendan Graham and Rosey and Susan Mc Keown and was commissioned by the Sligo County Council to write a song for the Bealtaine Festival season 09 celebrating the contribution of the older generation in society. Cathy also presented the Irish language program “Geantrai” as a special tribute to the legendary Tommie Makem for TG4, as well as a special program from the Sligo Live Festival for RTE television.

In 2009 Cathy played and sang on a project called “Playing for Change” an organization whose self-described goal is to “inspire, connect, and bring peace to the world through music.” The creators of the project, Mark Johnson and Enzo Buono, traveled around the world to places such as New Orleans, Barcelona, South Africa, India, Nepal, the Middle East, and Ireland.

Using mobile recording equipment, the duo recorded local musicians performing the same song, interpreted in their own style. Among the artists participating, or openly involved in the project, include Vusi Mahlasela, Louis Mhlanga, Clarence Bekker, Tal Ben Ari (Tula), Bono, Keb’ Mo’, David Broza, Manu Chao, and Grandpa Elliott.

Cathy also plays in a second group called The Unwanted, featuring longtime friend and former Dervish member Seamie O’Dowd as well as multi-instrumentalist Californian Rick Epping. The group explores the connection between the music of Ireland and America

and how generations of cross pollination has led to a whole new music which has its roots in both sides of the Atlantic. Their debut, Music From the Atlantic Fringe, was released in 2010 to great critical acclaim. That same year saw Cathy collaborating with Seville folk-rock power houses Rarefolk on a number of concerts as well as their most recent album.

Cathy has a deep understanding of the Irish tradition and is regarded as one of the finest traditional singers in Ireland today.

Michael Holmes bouzouki Michael is a native of Sligo town. His grand aunt Cissy Boyd was a proficient singer, tin whistle, and accordion player. Michael’s sister Anne inherited their grand aunt’s musical talents and became a successful musician in her own right, firstly in Ireland, then later in the USA. Anne taught Michael his first chords on the guitar and through her own playing got him interested in folk music. Anne emigrated to the states when Michael was 16, and from her he inherited an old guitar which he used to continue teaching himself. While attending Summerhill College he met and became friends with Shane Mitchell and Liam Kelly.

At this stage Michael had been involved with a few amateur bands and had begun playing folk music in a couple of local pubs including the legendary Shoot the Crows. He and the other two future founding members of Dervish began playing together primarily for fun, playing original songs and tunes but avoiding the clichéd use of traditional instruments normally employed to insert snippets of jigs and reels into overtly 15

About the Artists

modern music. Instead they tried to utilise the flute and accordion to play pieces which were possible on the instruments yet didn’t try to sound Celtic or particularly Irish. They added a guitarist and drummer to the lineup before finally getting singer songwriter Yvonne Cunningham to front the band under the charming name of Who Says What. The line-up worked quite well and Michael wrote and co-wrote several of the songs along with Yvonne. Eventually the band members went their separate ways after a productive and relatively successful three years.

Michael moved to London to find work and was joined a year later by Liam and Shane.

While living and working in a different country the boys strove to stay in touch with traditional music and because of this Michael and Liam wrote several pieces of music together — two of which are still played frequently by Dervish — “The World’s End” and “The Hungry Rock.” They continued to search out Irish sessions and musicians and to experiment with writing original Irish tunes. It was during this time in England that Michael bought his first bouzouki from the well-known music dealer John Alvey Turner.

His first approach to the instrument was to translate chords from both the standard and DADGAD guitar tunings. After finding the basic root structures for various keys it was a matter of playing along to tunes and exploring the different options the bouzouki offered compared to the guitar.

A couple of years later while home on holidays in Sligo a local entrepreneur approached Shane Mitchell to organise some musicians to make a recording of Sligo music. The assembled group comprised Shane Mitchell, Liam Kelly, Michael Holmes, Brian McDonagh, and fiddle player Martin McGinley. The resulting album was titled The Boys of Sligo and the members chose the name Dervish. The recording enjoyed great success despite the fact that there was no band to tour in support of it. The requests for the group from festivals and media programs inspired the members to consider seriously forming together as a working traditional band. After weighing up the pros and cons Michael and Liam, who were both still working in London at this stage, chose to commit themselves fully to the project and moved back to Sligo in 1989. And so the story goes...

Michael plays B1 and B3 custom model bouzoukis made by by Phil Crump of Arcata, California. The soundboard is spruce with rosewood back and sides. The tuning used is G, D, A, D ( G being the thickest low string.)

Gauges of strings in that order are .46, .34, .18, .13. The pickup used is a Baggs ribbon transducer located under the saddle of the bridge running to an external Baggs pre-amp.

Michael uses and endorses the following products: Shubb Capos - www.shubb.com D’Addario Strings - www.daddario.com www.dervish.ie

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Flamenco Vivo Sunday, March 16, 3pm

Carlota

Photo: Lois GreenďŹ eld

Santana

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Program

The Soul of Flamenco Carlota Santana, Artistic Director Antonio Hidalgo, Associate Artistic Director Dancers Antonio Hidalgo Leslie Roybal Carlos Carbonell Isaac Tovar Leilah Broukhim Alice Blumenfeld Musicians Gaspar Rodriguez, Guitar Chris Scavello, Guitar Francisco Orozco “Yiyi,” Singer Pedro Obregon, Singer www.flamenco-vivo.org Lighting Kia Rogers Flamenco Vivo Carlota Santana 4 West 43rd Street, Suite 608 New York, NY 10036 Tel: (212) 736-4499 www.flamenco-vivo.org santana@flamenco-vivo.org

721 Hyde Park Doylestown, PA 18902 p. 267-880-3750 f. 267-880-3757 www.baylinartists.com

All programs and artists are subject to change. As a courtesy to the artists, please remain seated until they have left the stage.

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Program

What is the Soul of Flamenco?

It is not only the performers themselves, but what they carry inside - the impassioned investment of each dancer, singer, and musician. Flamenco is an expression of feeling, a community built on emotions. Happiness, sadness, joy, sorrow are translated through this eloquent art form, expressing the vital essence that lives within each of us. These universal emotions are shared across time and physical boundaries, and are the foundation of Flamenco.

Mujeres Dancers: The Company Choreography: Antonio Hidalgo Mujeres demonstrates flamenco traditions within a contemporary context. The work highlights the traditional elements used by women in flamenco dance- the castanets, fans, and shawls and how the bata de cola (dress with a train) is used in both traditional and contemporary flamenco. This traditional costume was once only used as stately attire, but the modern female dancer uses this costume in new ways: as a partner, as defense/offense against the male dancer, and as a “toy” to play with and express humor and lightness.

Mujeres was made possible by a grant from the New York State Council on the Arts.

Música Flamenca Guitarists: Gaspar Rodríguez, Chris Scavello Singer-percussion: Francisco Orozco “YiYi,” Singer: Pedro Obregon Romance Dancer: Leilah Broukhim A festive and popular Andalusian cante style, passed on through oral tradition and customarily interpreted during very intimate celebrations.

Seguiriya-Martinete Dancers: The Company The martinete rhythm is said to derive from the workers in the forges—from the word martillo meaning hammer. Seguiriya is one of the oldest Flamenco forms where the serious, almost tragic sound of the music gives the dancer a chance to express sorrowful feelings. The heaviness of the music leads to a chance to work with complex rhythmic patterns. The women use mantones, the shawl that originated in the Philippines.

Intermission

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A Solas Dancers: The Company Choreography: Ángel Muñoz Originally choreographed for five women, thus its name, A Solas was first performed during the Flamenco in the Boros tour in New York City in 2012. In early 2013 the men’s parts were added to this soulful piece, exemplary of the soleá por bulerías style.

A Solas was made possible by a grant from the New York State Council on the Arts.

Vidalita Choreography: Antonio Hidalgo The Vidalita is influenced by Argentinean folk music and for this performance is combined with the flamenco farruca which came from Asturias in northern Spain.

Alegrías The Alegrías were originated in the seaport of Cadiz. The word Alegrías means joy or happiness, and the songs are light and carefree in spirit. They can express great intensity of feeling yet the mood is optimistic and high-spirited.

Fin De Fiesta/Bulerías The Company The name Bulerías comes from burlar or to make fun. The flamenco party ends por Bulerías, a “jam session” in which everyone takes their turn to “show their stuff.” The baile por Bulerías (bulerías dance) is one of the most vivacious and difficult dances, and requires a great deal of gracia (grace) and sense of rhythm.

All programs and artists are subject to change. As a courtesy to the artists, please remain seated until they have left the stage.

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About the Artists

Carlota Santana Co-Founder and Artistic Director Carlota Santana has been honored by the King and Government of Spain with La Cruz de la Orden al Merito Civil for “all the years of passion, excellence and dedication to the flamenco art.” She has also been designated “The Keeper of Flamenco”

by Dance Magazine in recognition of her commitment to creating new works and developing young artists and choreographers. She has led the Company to its 30th Anniversary — a first for a USA/ NYC flamenco company. In celebration of this milestone and in partnership with The New York Public Library for the Performing Arts, the Company has created an exhibit entitled 100 Years of Flamenco in New York, celebrating the art form and Flamenco Vivo’s 30th Anniversary. The exhibit ran for five months, from March 12, 2013, thru August 3, 2013, in The Vincent Astor Gallery at Lincoln Center and is now in preparation to tour.

The Company was founded in 1983 by Carlota Santana and Roberto Lorca; it was their vision that new Spanish dance should not only find a permanent home in the U.S. but also an environment in which its creation and performance would thrive. Under Ms. Santana’s direction, the company has expanded its repertory by presenting new music, dramatic works, and a mixture of various dance vocabularies, as well as by integrating Hispanic-American influences. Recent creations include Bailes de Ida y Vuelta, flamenco’s journey through Latin America, Mano a Mano, a tribute to the bullfighter Manolete, and the contemporary flamenco story-ballet Federico, a celebration of the life of Federico 22

García Lorca, all at The Joyce Theater where the company performs an annual season.

Ms. Santana created the company’s innovative arts-in-education program, integrating Spanish dance and culture with the school curriculum, and has traveled widely implementing this program. She is a member of the dance panel for the New York State Council on the Arts and has served on the panel for the National Endowment for the Arts. She is on the faculty of Duke University and has taught at Long Island and New York Universities. Ms. Santana is a recipient of a Choreographer fellowship from the North Carolina Arts Council and is a member of the North Carolina Dance Alliance. Under her artistic direction, the company has performed at Lincoln Center, The Joyce Theater, The New Victory Theater, Summerdance Santa Barbara, Carnegie Music Hall in Pittsburgh, Society of the Four Arts in Palm Beach, Van Wezel Performing Arts Center in Sarasota, Universidad Bucaramanga in Colombia, South America, Palacio de Congresos in Granada, Spain, Discovery Theatre in Anchorage, Alaska, Leid Center in Lawrence, Kansas, Paul Poag Theatre in Del Rio, Texas, the Metropolitan Museum of Art, and the Museum of Modern Art, among many others.

Antonio Hidalgo Associate Artistic Director, Dancer, and Choreographer Antonio Hidalgo was born in the town of Lucena (Córdoba) Spain, and has worked with many various companies throughout his professional career. These include the companies of Jose Antonio, Paco Romero, Jose Greco, and Antonio Gades, where he

danced the principal role of Escamillo. He has collaborated with companies such as that of Maria Benitez, Masamy Okada, and Yolanda Gonzalez as well as various flamenco-fusion groups such as Kon-raza and Arickytwon. Hidalgo has appeared on Spanish television and theatre having worked with directors such as Miguel Naros, Salvador Tavara, and Antonio Molero.

In partnership with Inmaculada Ortega, he directs the Company Aroma Flamenca.

He has received commissions from the New York State Council on the Arts for his acclaimed pieces “Mano a Mano,” “Bailaor/ Bailaora,” and “Imagenes Flamencas” which toured nationally and premiered in New York at The Joyce Theater in 2001, 2002, and 2006, respectively. Most recently Antonio has been working as rehearsal director and performer with the Fundación Antonio Gades whose mission is to preserve the legacy of this most famous Spanish choreographer.

Leslie Roybal Dancer Leslie Roybal, a native of New Mexico, began her career at age 5 performing with a Mexican folkloric dance company.

After a brief hiatus from dance while earning a BFA in Theater from Stephens College, she continued her dance education at the University of New Mexico where she studied Contemporary Dance and Flamenco. Proficient in both the Contemporary Dance and Flamenco idioms, Leslie has performed in New York and throughout the U.S. with companies such as Murray Spalding Mandalas, Fred Darsow Dance, Neville Dance Company, The Metropolitan Opera (in Carmen and La Traviata as well as on tour in Japan),

Flamenco Vivo Carlota Santana, and in the New York and New Jersey tablaos. Leslie continues her Flamenco studies in New York and Spain. She has worked with renowned dancer/choreographer Rosario Toledo in Philadelphia’s First Flamenco Festival and for the past two years directed Flamenco Vivo’s Annual Boros Tour. She was named Director of The Center for Flamenco Arts at Flamenco Vivo in 2012. As a teacher, Leslie leads lecture demonstrations, conducts workshops and Master Classes, and gives lectures within the Contemporary Dance and Flamenco ideologies.

Leilah Broukhim Dancer Leilah Broukhim born in New York of Sephardic Iranian parents, began her studies in NY yet has been based in Spain for over twelve years. In Madrid, she studied at the renowned dance academy Amor de Dios under great masters of flamenco, including María Magdalena, Manuel Reyes, Rafaela Carrasco, and José Maya. She also completed her knowledge of flamenco in Seville with the Farruco family. Her professional career began with the two most important flamenco dance companies in the USA: Flamenco Vivo Carlota Santana (New York) and María Benítez Teatro Flamenco (New Mexico).

Leilah has performed in the principal tablaos of Spain including Casa Patas, El Corral de la Morería, El Corral de la Pacheca, El Café de Chinitas, Las Carboneras, El Cordobés, and Tablao de Carmen. She has been a member of companies of Rafael Amargo, Paco Peña, and Javier Barón. In 2009, she was a guest artist in Gomaespuma Foundation’s 10th Festival Flamenco Pa’tos, sharing the stage with Marina Heredia, Carmen 23

About the Artists

Linares, and Eva la Yerbabuena. In 2011, Leilah premiered her show Dejando Huellas (Traces) at the Jewish Culture Festival in Krakow and presented it in Paris at the Museum of Art and History of Judaism and in New York as part of the 2012 Flamenco Festival.

Isaac Tovar Dancer Isaac Tovar was born in Valladolid and finished his studies at the Professional Conservatory of Dance in Seville in 2001. He began his career in the Taller de la Compañía Andaluza de Danza and in May 2004 became a member of Centro Andaluz de Danza under the direction of José Antonio. He performed in the Festival de Peralada and was an artist in the film Iberia by Carlos Saura. In January of 2005 Isaac toured as soloist with the Company of Rafael Aguilar throughout Spain and Europe and then went on to become a member of the Company Antonio Gades.

In 2005, after being chosen as a finalist in the Certamen of Choreography in Madrid along with two other artists, he became a soloist in the National Ballet of Spain. In August he was a member of the Company that received the first prize in the Certamen de Choreography in the Teatro Albeniz with a choreography entitled “XY.” Upon leaving the Ballet National in 2010, Isaac became a member of the Company of Aída Gómez and also presently performs with Ursula López and the Nuevo Ballet Español.

Carlos Carbonell Dancer Born into a family very involved in flamenco, Carlos Carbonell began touring at an early age with the Compañía de Manuela Carrasco in France. He has studied with 24

Alejandro Granados, Mario Maya, Manolete, and Antonio Canales, among many others.

Charo Cruz has been his artistic advisor and today directs his projects. Carlos has worked in the best tablaos in Spain such as El Lagal in Jerez de la Frontera; Tablao Los Gallos, El Arenal en Sevilla; Las Carboneras, El Corral, and El Café de Chinitas in Madrid; and El Cordobés in Barcelona and with the Companies of Sara Baras, Rafael Amargo, and in La Compañía de Eva La Yerbabuena.

Performing with well-known artists such as Joaquín Grilo, Carmela Greco, and Rafael Amargo he first worked with La Compañía de Carlota Santana in 1996. In 2004 Carlos produced, in Madrid, his first show, “Tríos,” with the collaboration of Olga Pericet and Marco Flores. He toured Japan together with David Lago in the show “Amor Brujo” directed by Masami Okada. In 2006 he worked for the Andalusia Tourist Board, representing Andalusia throughout Spain and, in 2007, joined La Compañía de Mercedes Ruiz and toured Asia from Pakistan to India representing Spanish culture. He took part in La Compañía Cádiz, a production by the Agencia Andaluza Para El Desarrollo Del Flamenco. He choreographed “Carmen,” directed and produced by María Serrano Lozano and Luigi Pignoti touring Italy. In the 15th Biennale of Flamenco Dance in Seville he was special guest star in La Compañía de Nicasio Moreno. Carlos creates his own choreography such as “Acompasa2” and “8 Codigos.” He presently teaches and performs throughout Spain and Europe.

Alice Blumenfeld Dancer Alice Blumenfeld is originally from Albuquerque, New Mexico, where she

began her dance training in the Cecchetti Method of ballet at Alwin’s School of the Dance. She began studying flamenco with Benigna Sanchez and later at the National Institute of Flamenco Arts. In 2012, she received a Fulbright Research Grant to pursue her dance studies in Sevilla, Spain. Alice has performed at such venues as the Kennedy Center for the Performing Arts, the Baryshnikov Performing Arts Center, and has performed in Nélida Tirado’s Tomaaa! and in Rosario Toledo’s Complices at the Philadelphia Flamenco Festival. Awards include being named the Selma Jeanne Cohen Lecturer, a United States Presidential Scholar in the Arts, a Young Arts Silver Award from the National Foundation for Advancement in the Arts, three research grants from New York University to pursue research in flamenco, and the Undergraduate Thesis Award in Comparative Literature at NYU. Gaspar Rodríguez Guitarist Gaspar Rodríguez was born in Estepona, Málaga, and has won several prestigious awards including the “Sabicas” and was a finalist of La Unión in flamenco guitar.

An accomplished composer, Gaspar has traveled throughout Spain, Europe, and in New York City with Cañadú with whom he has produced several CD’s, and has worked for El Nuevo Ballet Español under the direction of Angel Rojas. In addition to touring worldwide with many esteemed flamenco artists including Juan Andrés Maya, Rocío Molina, Juanito Maravillas, Andres Lozano, Maite Maya, and Paco del Pozo, he regularly performs in Madrid tablaos Casa Patas and Las Carboneras.

Gaspar first worked with Flamenco Vivo in

1997 and has since returned for several National Tours and performances.

Francisco Orozco “Yiyi” Percussion, Singer Francisco Orozco “Yiyi”, of an Andalusia family, born in Barcelona, was introduced to Flamenco rhythms at the tender age of four. Yiyi was trained by flamenco singer and father—“Joselón de Jerez” in his Spanish peña named “Peña Fosforito.” Considered a “child prodigy” of percussion Yiyi began his professional career at the age of twelve.

By age seventeen, and one CD later, he became more involved with singing, and left Spain for Germany on a long-term contract with the company “Flamenco Rubio.”

Since that time he has performed with “Compañia Flamenca Alhama” throughout Europe and Japan; with María Benitez “Teatro Flamenco” and Domingo Ortega as well as at “Casa Patas” in Madrid; with Jose Greco II; and with world-renowned guitarist Serranito. He has also performed with Alejandro Granados, Yolanda Heredia, El Toleo, El Pelao, María Serrano, La Tania, and Antonio Granjero.

Pedro Obregon Singer Pedro Obregon was born in Murcia, Spain, in 1982, obtaining his musical formation through folkloric music playing the bandurria, the laud, and the violin. He toured Spain and France as a folkorist musician and then began to study the guitar at the Municipal Music School in Archena. In Madrid he studied with el Maestro Enrique Vargas and with Jorge Pardo, El Viejín, and René Toledo, among others. A multi-instrument artist, he plays percussion, piano, and bass and he has his own recording studio: MadrilesRecords.

He has collaborated with: Mojo Project, 25

About the Artist

Gato (producido por Tony Lopez de Ska-p), Quinto Parpadeo, Lucrecia, David Andreu, Maktub, La Húngara, Escoberito. He has toured with Nuevo Ballet Español and as a member of Jose Luis Gutierrez Cuartet he shared the stage with Tomatito, Jorge Pardo , Carlos Benavent. He collaborates often with Elena Andujar, Raúl Jimenez, Raùl Garcia “el cobo”, Ismael Tamayo, and David Carrasco. As producer he has worked on the CD’s of David Andreu, Luis Rodrigo, California Project, Manuel Lama, Fabrizio Fiore (Italia-Suiza), Isabelle (Boston), Esteban Ciudad among others. He has produced, created, and arranged along with Gaspar Rodriguez la BSO for the short “primer asalto” starring the actress Paca Gabaldon.

Chris Scavello Guitarist Chris Scavello began playing the guitar at age 14. His interest in Spanish classical music began by studying Asturias and Leyenda by Isaac Albeniz. This interest led him to study music formally at West Chester University where he studied guitar and earned a Bachelor’s degree in Music Theory and Composition. During this time, further study of Spanish classical pieces such as “The Miller’s Hat” by Manuela de Falla led him to seek out flamenco. At the age of 21 he began his flamenco studies with Tito Rubio with whom he studied for 7 years and became accompanist for Anna Rubio’s classes taught at the University of the Arts. In 2009, Chris traveled to La Fundación de Cristina Heeren in Sevilla, where he studied with flamenco guitar masters including Eduardo Rebollar, Pedro Sierra, Paco Cortes, and Niño de Pura. During 2010-2012 he performed

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at the University of Sevilla, El Teatro de la Villa in San Jose de la Riconada, and in El Parque del Alamillo. After completing his first year at La Fundación he returned with a full scholarship and completed the advanced program. Now, back in the USA, he is performing with a wide variety of dance companies.

Kia Rogers Lighting Designer Off Broadway: Pressing Empty at Danspace at St. Mark’s, Sistas: The Musical at St. Luke’s, Made In Heaven at The SoHo Playhouse, Passage through Light and Shadows at Theatre at St. Clement’s. International credits: Associate Lighting Designer for Slutforart/98.6 in Gothenburg, Sweden, with Muna Tseng. Tours: The God Box Project with Mary Lou Quinlan and Soledad Barrio & Noche Flamenca Dance Company.

Assistant credits include working with Justin Townsend, Thomas Dunn, and Nicole Pearce. She is a creative partner with Flux Theatre Ensemble, and the lighting director for Estrogenius Festival, A Celebration of Female Voices, since 2007. nytheatre.com voted her people of the year, 2012.

Flamenco Vivo Carlota Santana Flamenco Vivo Carlota Santana has received support from: American Express, The American Music Center, The Mary Duke Biddle Foundation, Con Edison, The Consulate General of Spain in New York, Dance NYC & The Mertz Gilmore Foundation, Durham Arts Council, Bobbie Fletcher Fund of Triangle Community Foundation, Freixenet, Friar’s Foundation, Harkness Foundation for Dance, Merrill G. and Emita E. Hastings Foundation, Allen E. Kaye, P.C., Garrett Kirk, The Lila Acheson Wallace Theater Fund, Office

of the Manhattan Borough President, The J. P. Morgan Chase Foundation, The Joyce Theater Foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York City Department of Youth and Community Development, New York Foundation for the Arts, North Carolina Arts Council, New York State Council on the Arts, New York State Council on the Humanities, The Phillips Club, Rosenblatt Foundation, Martha Lovenheim Siegel, Socarrat Restaurants, Tapeña Wines, Target Stores, The Travelers Foundation, Urban Telecommunications, the United States Department of Education, WNYC New York Public Radio, Therese Berkowitz, Victoria Baird, Arnold D’Angelo, Nelida Lara, Simonetta Sambataro, Carmen Cafagna, Richard & Barbara Wong, Katherine Paculba, Jane Sorensen, David & Michele Tarica, Derek & Rhona Ross, Menkes Theatrical Shoes, Susan Bernstein, Carol Fromboluti, Paula Jonas, Kathy Fox, Heather Smith Linton, Robert & Anetta Nickerson, Philip & Margareta Kotch, George & Dee Gamble, George & Jane Fuller, Jack Kirman, Douglas Turnbaugh, James & Joyce Snapper, Louis Goetz, J. Michael Hanvik, the Zinn Family, and our many “Friends of Flamenco.”

STAFF Artistic Director

Carlota Santana Associate Artistic Director

Antonio Hidalgo Executive Director

Daniel Feinstein Production Manager

Monica Moore Company Manager

Hanaah Frechette Director Center for Flamenco Arts

Leslie Roybal Special Services for Flamenco Vivo Carlota Santana Legal

Law offices of Allen E. Kaye, P.C. Travel

Atlas Travel of Daytona Beach Newsletter Editor

Patricia Westphal Graphic Design

Bob Kamp Computer Assistance

Profound cloud Insurance

Acordia Banking

Signature Bank Board of Directors Barbara Mariconda Carlota Santana Nelida Lara Jonathan Sirota Bhaviksha Ranchod Angelica Escoto North Carolina Advisory Board Yvonne Bryant Rafael Lopez-Barrantes Patricia Westphal Alicia Vila

Castanets

Galiano, Castañuelas del Sur Shoes

Gallardo, Don Flamenco Costumes

Inmaculada Ortega, Enrique Arteaga, Roberto Cartagena

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Photo: Lisa Kohler

Chanticleer

Saturday, April 5, 8pm

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Program

Chanticleer She Said | He Said Gregory Peebles, Kory Reid, Darita Seth soprano Cortez Mitchell, Alan Reinhardt, Adam Ward alto Michael Bresnahan, Brian Hinman, Ben Jones tenor Eric Alatorre, Matthew Knickman, Marques Jerrell Ruff baritone and bass Jace Wittig Interim Music Director I Giovanni Pierluigi da Palestrina (c.1525–1594)

Gaude gloriosa*

Tomás Luis de Victoria Regina caeli laetare* (c.1548–1611) Hildegard von Bingen (1098–1179)

O frondens virga

Francisco Guerrero (c.1528–1599)

Ave Virgo sanctissima

Andrea Gabrieli (c.1532–1585)

II To be selected from: Tirsi morir volea

Adrian Willaert (c.1490–1562)

Quando nascesti, Amor?

Willaert

Lasso chi’a’rdo

Claudio Monteverdi (1567–1643)

Oimè se tanto amate

Fanny Mendelssohn Hensel (1805 – 1847)

III Schöne Fremde from Gartenlieder

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Program

Felix Mendelssohn (1809 – 1847)

Wasserfahrt, op. 50, no. 4 from Sechs Lieder, op. 50, no. 4

Johannes Brahms (1833 – 1897)

Nachtwache I from Fünf Gesänge, op. 104, no. 1

Maurice Ravel (1875 – 1937)

Samuel Barber (1910 – 1981) arr. Steve Hackman (b. 1980)

IV Trois Chansons 1. Nicolette 2. Trois beaux oiseaux du paradis 3. Ronde V Let Down the Bars, O Death “Wait” Fantasy* “Wait” Music & Lyrics by Anthony Gonzalez/Yann Gonzalez/ Morgan Kibby/Brad Laner/Justin Meldal-Johnsen Commissioned by Chanticleer in 2013 INTERMISSION

Stacy Garrop (b. 1969) Eric Whitacre (b. 1970)

John Clements (1910 – 1986)

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VI Give Me Hunger Commissioned by Chanticleer in 2013 A Boy and a Girl VII Folksongs to be selected from: Flower of Beauty

Trad. French, arr. Alice Parker/ Robert Shaw

L’Amour de moy*

Trad. Chinese, arr. Chen Yi / Steven Stucky

Two Chinese Folksongs 小 河 淌 水 (Xiao He Tang Shui) 太阳出来喜洋洋 (Tai Yang Chu Lai Xi Yang Yang)

Trad. Russian, arr. Constantine Shvedoff

Oy Polná, Polná Koróbushka*

VIII Spirituals, jazz, and popular selections to be selected from: Cole Porter, So in Love arr. J. Jennings Ann Ronell, arr. J. Jennings

Willow, Weep for Me*

Antonio Carlos Jobim, Chega de Saudade* arr. J. Calandrelli Commissioned by Chanticleer in 2013 Tom Chaplin, Richard Hughes, arr. Steve Hackman

Hamburg Song* Commissioned by Chanticleer in 2013

Elbow/Guy Garvey, arr. Peter Eldridge

Mirrorball* Commissioned by Chanticleer in 2013

Wally De Backer, arr. Darmon Meader

I Feel Better* Commissioned by Chanticleer in 2013

June Carter Cash/ Merle Kilgore, arr. Michael McGlynn

Ring of Fire* Commissioned by Chanticleer in 2013

Peter Gabriel, arr. Mason Bates

Washing of the Water* Commissioned by Chanticleer in 2013

Joni Mitchell, arr. Vince Peterson

Both Sides Now Commissioned by Chanticleer in 2013

Trad. Gospel/Spiritual, Spiritual Medley arr. Joseph Jennings Poor Pilgrim of Sorrow* Sit Down Servant Plenty Good Room* Trad. Spiritual, arr. Joseph Jennings

Keep Your Hand on the Plow*â€

*These works have been recorded and are available at this performance and at www.chanticleer.org †These pieces have been published through Hinshaw Music as part of the Chanticleer Choral Series.

All programs and artists are subject to change. As a courtesy to the artists, please remain seated until they have left the stage.

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About the Artists

Chanticleer is a non-profit organization, governed by a volunteer Board of Trustees, administered by a professional staff with a full-time professional ensemble. In addition to the many individual contributors to Chanticleer, the Board of Trustees thanks the following Foundations, Corporations, and Government Agencies for their exceptional support: The National Endowment for the Arts Grants for the Arts/San Francisco Hotel Tax Fund The William and Flora Hewlett Foundation Dunard Fund USA The Ann and Gordon Getty Foundation Chevron The Bernard Osher Foundation The Bob Ross Foundation The Confidence Foundation The Wallis Foundation The Schick Foundation

Chanticleer Staff Christine Bullin President & General Director Liv Nilssen Director of Development Curt Hancock Director of Operations and Touring Ben Johns Director of Education & Merchandise Brian Bauman Senior Accountant/Budget Manager Joe Ledbetter Marketing/Development & IT Systems Manager Barbara Bock Development and Marketing Associate Jace Wittig Interim Music Director Gregory Peebles Assistant Music Director Brian Hinman Road Manager Adam Ward Merchandise Manager Ben Jones, Matthew Knickman Merchandise Associates Opus 3 Artists, Ltd. Artist Management Lisa Nauful Label Manager Louis Botto (1951 – 1997) Founder Joseph H. Jennings, Matthew Oltman Music Director Emeriti www.chanticleer.org

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Program Notes

Program notes by Andrew Morgan, Kip Cranna, Joseph Jennings, Jace Wittig, Gregory Peebles and Brian Hinman.

Thanks to Valérie Sainte-Agathe, Alessandra Cattani, Katja Zuske, and Elena Sharkova for assistance.

Gaude gloriosa à 5 Giovanni Pierluigi da Palestrina (c. 1525 – 1594) The Blessed Virgin Mary is the focal point for some of the most inspired writing in musical liturgy. Composers from the Middle Ages to the present day have composed countless works—from brief motets to elaborate masses—in Her honor. Full of adoration, reverence, passionate pleas for mercy, and solemn prayers for intercession, the Marian motet was perhaps most perfectly realized in the hands of Renaissance masters from Italy and Spain.

Giovanni Pierluigi da Palestrina was born in the Italian town from which he took his name. He was maestro di cappella at St. Peter’s in Rome from 1551 to 1554 and from 1571 until his death in 1594. His fame as the outstanding representative of the Roman school caused his name to be directly associated with the “strict” style of Renaissance counterpoint used as a pedagogical model by students of nearly every succeeding generation. In Gaude gloriosa, Palestrina demonstrates his mastery of these contrapuntal techniques. The meticulous voice leading and refined dissonance treatment now universally idealized as the “Palestrina style” are pervasive, and the composer infuses this motet with a celebratory spirit.

Gaude gloriosa, super omnes speciosa.

Vale, o valde decora, et pro nobis Christum exora.

Joy be yours, glorious One, surpassing all others in beauty.

Farewell, supremely lovely Lady, pray for us to Christ.

Regina caeli laetare à 8 Tomás Luis de Victoria (c. 1548 – 1611) Spanish composer and organist Tomás Luis de Victoria, like many of his contemporaries, traveled to Rome to learn his art. It is possible that Victoria studied with Palestrina while he was there; he was certainly one of the few late-Renaissance composers to master the subtlety of the Prince of Rome. Victoria’s many compositions, comprised exclusively of sacred works, brought him a great deal of fame during his lifetime, primarily due to his ability to publish lavish volumes of his works.

Victoria felt a great affection for the four Marian antiphons, composing numerous settings of these texts. Regina caeli laetare, for eight-voiced double choir, displays Victoria’s penchant for music of a joyful nature. Lively, dance-like alleluia sections break up the predominant texture, comprised of close imitation and fast scalar passages.

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Program Notes

Regina caeli laetare, alleluia: Quia quem meruisti portare, alleluia.

Resurrexit, sicut dixit, alleluia: ora pro nobis Deum, alleluia.

Queen of Heaven, rejoice, alleluia: For He whom you were worthy to bear, alleluia.

He has risen as He said, alleluia: Pray for us to God, alleluia.

O frondens virga Hildegard von Bingen (1098 – 1179) Hildegard of Bingen is one of the earliest documented female composers of the West.

Her compositions, however, were only one in the polymath’s astounding array of gifts.

In addition to her duties as a Magistra of her convent, the Abbess—also a mystic and botanist—experienced her first divine visions at the age of three, as she explains in her autobiography, Vita. A person of letters in the truest sense, not only was von Bingen a confidante of Popes and magistrates, among her accomplishments is the creation of Ordo virtutum, the earliest extant morality play. By the time she had reached adolescence, either because of her unusual nature, or as an attempt to position themselves politically, von Bingen’s parents enclosed her in a nunnery. Therein, she was placed under the care of Jutta, another visionary with her own disciples, who played a pivotal role in Hildegard’s education and upbringing. Written by the Abbess to be sung by the daughters of her convent during the hours of the Office, O frondens virga finds its roots in Gregorian Chant, the wellspring of much liturgical melody.

O frondens virga, in tua nobilitate stans sicut aurora procedit.

Nunc gaude et laetare et nos debiles dignare.

A mala consuetudine liberare atque manum tuam porrige ad erigendum nos.

O virginous branch, You grow and blossom with such nobility like the breaking dawn.

Now rejoice and lift us to your heavenly treetop.

From our sins deliver us and with your hand raise us up.

Ave Virgo sanctissima Francisco Guerrero (c. 1528 – 1599) Although his music is relatively neglected today, Francisco Guerrero was second in importance only to Victoria during the Spanish Renaissance. Unlike many of his contemporaries, Guerrero received his musical training in Spain, rather than Rome, studying with his older brother Pedro and, more importantly, Cristóbal de Morales. He taught himself to play the vihuela (a Spanish predecessor of the guitar), cornett, and organ. At the recommendation of Morales, Guerrero was appointed maestro de capilla at Jaén Cathedral at only seventeen years of age. He went on to serve in the same position at the Seville Cathedral, a post he held until his death. The effort and money he invested in publishing his music paid off in a certain degree of fame during his lifetime, becoming known as far away as South America.

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Indeed, his music remained widely performed in the cathedrals of Spain and New Spain for more than two hundred years after his death. His setting of Ave Virgo sanctissima is a fine example of High Renaissance motet composition, drawing the primary melody from plainsong and developing it imitatively in all vocal parts.

Ave Virgo sanctissima, Dei mater piisima, maris stella clarissima.

Salve semper gloriosa margarita pretiosa, sicut lilium Formosa, nitens olens velut rosa.

Hail, most holy Virgin most pious Mother of God, bright star of the sea.

Hail, ever glorious precious pearl, like a beautiful lily, as full of perfume as the rose.

Tirsi morir volea Andrea Gabrieli (c. 1532 – 1585) Andrea Gabrieli—uncle to the somewhat more famous Giovanni of the same surname— was a leading figure in the musical culture of Renaissance Venice. Like other preeminent composers of the time, the elder Gabrieli was equally comfortable in sacred and secular spheres, and his skill as a composer is observed equally in his polychoral motets for San Marco and the bawdiest of his madrigals. In Tirsi morir volea, (with a poem by Guarini) Gabrieli persistently and quite evidently plays on the common Renaissance poetic device of equating “dying” with the notion of sexual climax. Seen in this light, the madrigal represents a masterpiece of understated eroticism. In the manner of his double-choir sacred works, Gabrieli uses seven parts, divided into three-plus-four, to create a sensual dialogue between the shepherd Tirsi (represented by the lower voices) and the nymph Clori – two ardent lovers who “return to life in order to die again.”

Tirsi morir volea, gl’occhi mirando di colei ch’adora quand’ella, che di lui non men ardea li disse: “Oimé, ben mio, deh, non morir ancora che teco bramo di morir anch’io.”

Frenò Tirsi il desio ch’hebbe di pur sua vit’allor finire, ma sentia mort’in non poter morire, E mentre’l guardo suo fisso tenea ne’ begli’occhi divini e’l nettare amoroso indi bevea.

La bella ninfa sua, che già vicini, sentia i messi d’Amore disse con occhi languidi e tremanti:

Thyrsis desired death, looking into the eyes of the one he adored when she, who burned no less for him said to him: “Alas my dear, do not die yet For I desire to die with you.”

Thyrsis reined in his desire to end his life now, but felt death in being unable to die, and while he kept his gaze fixed on these beautiful divine eyes he drank the amorous nectar.

His beautiful nymph, who felt Love’s beckoning draw nigh, said with languid and trembling eyes: 35

Program Notes

“Mori, cor mio, ch’io moro.”

Cui rispose il Pastore: “Et io, mia vita, moro.”

Così moriro i fortunati amanti di Morte si soave e sì gradita che per ancor morir tornaro in vita.

“Die my love, for I die also.”

The shepherd answered her: “And I, my life, die.”

Thus the fortunate lovers died so sweet and welcome a death that they returned to life to die again.

Quando nascesti, Amor?

Adrian Willaert (c. 1490 – 1562) Lasso ch’i’ardo When Adrian Willaert was appointed as maestro di cappella of San Marco—a position he seems to have come upon through special intervention of the Doge—Venice was rivaled in her musical excellence only by private patrons maintaining chapels particularly intended for the singing of polyphonic masses. So well loved was Willaert’s style that he was called by many contemporaries “the new Pythagoras”. His perfection of both polyphonic and polychoral styles led contemporary writer Andrea Calmo to effuse, “your music, my dearest friend, has been distilled in seven alembis, purified in nine waters, and refined in flames”—high alchemical praise for transformative music. His madrigal compositions are beautifully nuanced interpretations of text; in the following two selections, the composer sets sonnets. Quando nascesti, Amor? uses two groups of voices in a polychoral style to create a dialog on the origins of love. The text is a sonnet by Serafino dell’Aquila. In contrast to his work in the polychoral style, Lasso ch’i’ardo is wonderfully illustrative of Willaert’s versatility as a composer, with achingly beautiful lines and expressive text painting showing a clear link to his Franco-Flemish training.

Quando nascesti, Amor?

Quando nascesti, Amor? When were you born, Love?

Quando la terra sì rivestì di verde e bel colore. When Earth was dressed in flowers and verdant color.

Allor di che nascesti? Of what were you created?

D’un ardore che otio e lascivia Of lust and sloth, of a fire in se richiud’ e serra. which is self-contained.

Chi ti costrinse à farne tanta guerra? Who gave you power to distract the breast with war?

Calda speranaza e gelido timore. Warm hope and chilling fear.

In cui fai la tua stanza? Where do you dwell?

In gentil core che sotto el mio valor In gentle hearts, which bow beneath my influence, tosto s’atterra. first and best.

Chi fu la tua nutrice? Who nursed you?

Giovinezza, e le serve che furno à lei d’intorno, Youth, and those things which serve her; Vanità, gelosia, pomp’ e bellezza. Vanity, jealousy, grace, and beauty.

Di che ti pasci? What do you feed on?

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D’un parlar adorno.

Offendeti la morte o la vecchiezza?

No, ch’io rinasco mille volte il giorno.

Ornate words and flattery.

Have age or Death any power against thee?

No, for I die and return to life a thousand times a day.

Lasso ch’i’ardo Lasso, ch’i’ardo, e altri non me’l crede; Alas, I burn, and none will believe me; sì crede ogn’uom, se non sola colei even if all the world believed, she whom I wish che sovr’ogni altra, vorrei: above all would believe, still does not: ella non par che’l creda, e sì sel vede. she does not seem to believe, and yet she sees.

Infinita bellezza e pocca fede, Infinite beauty, yet of such little faith, non vedete voi’l cor negli occhi miei? do you not see my heart in my eyes?

Se non fosse mia stella, i’pur devrei If my fate were not otherwise, I would al fonte di pietà trovar mercede. find mercy at the fountain of pity.

Oimè se tanto amate Claudio Monteverdi (1567 – 1643) Monteverdi’s eight books of madrigals span the stylistic gamut from Marenzio-inspired early works to later, groundbreaking continuo madrigals almost akin to dramatic cantatas.

From Monteverdi’s 1603 collection of Madrigals (Book IV), Oimè se tanto amate shows the composer clearly looking forward. Line, harmony, and tempo are subservient to the text more often than not. There are early examples of stile rappresentativo—rhythmic declamations of words and phrases in a natural rhythm, dictated by the cadence of speech more than by note values or counterpoint (an early precursor to operatic recitative).

Melody is often set clearly in one or two voices, while others supply harmonic support and energy to amplify the emotion in the text. Such is often the case in this selection, which represents the culmination of nearly every hallmark Venetian element of style—inventive harmony, subtle counterpoint, witty double entendre, and wonderfully imaginative text painting.

Oimè, se tanto amate di sentir dir “Oimè” deh perché fate chi dice “Oimè” morire?

S’io moro un sol potrete languido e doloroso “Oimè” sentire.

Ma se, cor mio, volete che vita habbia da voi, e voi da me, havrete mill’e mille dolci “Oimè.”

Oimè [a sigh], if you are so fond of hearing “Oimè” spoken, why do you make whomever says “Oimè” die?

If I die, you’ll be able to hear only one languid and sorrowful “Oimè.”

But, my sweetheart, if you will let me draw life from you, and you from me, then you will have thousands and thousands of sweet “Oimès.”

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S AV E T H E DAT E THE PERFOR MING ARTS CENTER

SATURDAY, M AY 3, 2014 THE PAC IS PUTTING ON THE RITZ WHEN

MIC HAEL FEINSTEIN COMES TO TOWN. JOIN US FOR A GLAM EVENING OF COCKTAILS, DINNER, DANCING, AND GERSHWIN CLASSICS. INVITATION WILL FOLLOW WITH FULL DETAILS, OR PLEASE CALL SARAH RECCA AT 914.251.6189 FOR FURTHER INFORMATION. PROCEEDS WILL ALLOW THE PAC TO PRESENT WORLD-CL ASS PERFORMANCES, NURTURE EMERGING ARTISTS, PROVIDE ACCESS ACROSS ECONOMIC BOUNDARIES, AND DEVELOP THE NEXT GENER ATION OF ARTISTIC AND CULTUR AL CITIZENS.

Program Notes

Schöne Fremde, from Gartenlieder Fanny Mendelssohn Hensel (1805 – 1847) Wasserfahrt, from Sechs Lieder, op. 50 Felix Mendelssohn (1809 – 1847) The Mendelssohn family hailed from Hamburg, Germany—at the time an independent city-state—and had four children. Fanny and Felix each showed extraordinary promise as musicians at a very young age, playing the piano from early childhood and composing major works by the advent of their respective teenage years. Fanny was considered for some time to be the superior musician, and their shared musical tutor and mentor (Carl Friedrich Zelter) spoke of her quite favorably. She composed well over 400 pieces of music in her lifetime but was ultimately beholden to time and place—it was not considered acceptable for a woman to have a musical career, thus her efforts were restricted to chamber music.

Nonetheless, her works have endured, earning her a place as one of the best-understood female composers from the period. Schöne Fremde, from Gartenlieder, displays her gifts for melody and playful text painting, setting at text by Eichendorff.

Felix Mendelssohn wrote his Sechs Lieder (op. 50) just before 1840. Scholars often remark that the composer’s shorter works succeed in emotional intensity where longer works are lacking—certainly in Wasserfahrt, he captures the dreary atmosphere and melancholy mood of Heinrich Heine’s poem.

Schöne Fremde Es rauschen die Wipfel und schauern, The treetops rustle and shiver Als machten zu dieser Stund as if at this hour Um die halbverfallenen Mauern about the half-sunken walls Die alten Götter die Rund. the old gods make their rounds.

Hier unter den Myrtenbäumen In heimlich dämmernder Pracht Was sprichst du wirr wie in Träumen Zu mir, phantastische Nacht?

Es funkeln mir zu alle Sterne Mit glühendem Liebesblick.

Es redet trunken die Ferne Wie von künftigen, großem Glück.

Here behind the myrtle trees, in secretly darkening splendor, what do you murmur, as if in a dream, To me, fantastic night?

The stars glitter down on me with glowing, loving looks.

The horizon slurs tipsily, as if from the future, filled with happiness.

Wasserfahrt Am fernen Horizonte Appearing on the far horizon Erscheint, wie ein Nebelbild, Like a picture in the fog, Die Stadt mit ihren Thürmen, A city, with its towers In Abenddämm’rung gehüllt. Shrouded in the evening dusk.

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Ein feuchter Windzug kräuselt Die graue Wasserbahn; Mit traurigem Takte rudert Der Schiffer in meinem Kahn.

Die Sonne hebt sich noch einmal Leuchtend vom Boden empor Und zeigt mir jene Stelle, Wo ich das Liebste verlor.

A damp gust of wind eddies The course of the grey water; With a mournful rhythm The boatman rows in my boat.

The sun lifts itself once more, Glowing upwards from below the horizon, And shows me that place Where I lost what is dearest to me.

Nachtwache I, from Fünf Gesänge, op. 104, no. 1 Johannes Brahms (1833 – 1897) Johannes Brahms was one of the major forces of German Romanticism in the 19th century.

His musical output includes works in nearly all the main genres of the time. Brahms was a prolific composer of choral music, with equal emphasis on accompanied and a cappella works. While his reputation with choral audiences might rest on Ein Deutsches Requiem (for chorus and orchestra) or his Liebeslieder Waltzer for chorus and piano, his unaccompanied output is no less notable. An avid researcher into musical practices of the past, he was particularly interested in the madrigals and motets of preceding centuries and strove to reimagine the musical innovations of the past in his own compositional voice. Nachtwache I is the first of a set of five songs published in 1889—when Brahms was advancing in age, still a bachelor, and only months away from declaring his career as a composer to be finished (a declaration he would be unable to uphold). Some of his finest compositions come from this period, and Brahms scholars often point to Fünf Gesänge as the apex of the composer’s a cappella choral output. The pieces recall the intimacy of the Renaissance madrigal and show the popularity of a cappella singing in the late 1800s, as music began to leave the realm of the court and enter the domain of the emerging bourgeois class.

Nachtwache I Leise Töne der Brust, Gentle sounds of the soul, geweckt vom Odem der Liebe, inspired by the breath of love, hauchet zitternd hinaus, blow tremblingly forth; Ob sich euch öffenen ein Ohr If you open an ear öffn’ ein liebendes Herz! Open a loving heart und wenn sich keines euch öffnet, and, if none opens to you, Trag’ ein Nachtwind euch let the night wind carry you seufzend in meines zurück. sweetly back to me.

Trois chansons Maurice Ravel (1875– 1937) 1. Nicolette 2. Trois beaux oiseaux du paradis 3. Ronde 41

Program Notes

Following closely on the heels of Debussy and anticipating the compositional force of Les Six, Ravel was a man apart. Slight and meticulously dressed, Ravel composed with an accuracy and artifice which caused Stravinsky to call him “a Swiss watchmaker.” A fervently patriotic man, Ravel attempted to enlist in the army at the onset of World War I, but was rejected due to his small stature. Whilst awaiting an eventual appointment as an army truck driver in 1916, Ravel wrote the music and text for these three songs for unaccompanied choir. Trois chansons was Ravel’s only foray into the medium of choral music save the ill-fated cantata that was at the center of the scandal surrounding his well-publicized loss of the Prix de Rome in 1905. While the second song, Trois beaux oiseaux du paradis, is the most overtly linked to war and patriotism, Nicolette (dedicated to his good friend, the poet Tristan Klingsor) is a witty fable about a girl who denies all suitors (a grizzly wolf, a handsome page) until she meets a fat, ugly, and excessively wealthy landlord who offers her all his money. The two live happily ever after. In the third movement (Ronde) Ravel sets a dialogue between the old men and women of a village, who entreat the young to stay away from a dark wood. The poetry catalogues all the frightening mythological creatures one can imagine as a caution. However, in a charming turn at the end of the song, the young claim that the advanced age of the villagers was enough to scare all the demons away.

Nicolette Nicolette, à la vesprée, Nicolette, at vespers S’allait promener au pré, Went walking through the fields Cueillir la pâquerette, la jonquille et la muguet. Culling daisies, daffodils, and lilies of the valley.

Toute sautillante, toute guillerette, Skipping around quite jolly, Lorgnant ci, là, de tous les côtés. Spying here, there, and everywhere.

Rencontra vieux loup grognant, Tout hérissé, l’oeil brillant: «Hé là! ma Nicolette, viens-tu pas chez Mère-Grand?»

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She met an old, growling wolf, Bristly with sparkling eyes: “Hey there, Nicolette, Do you want to come with me to Grandmother’s?”

A perte d’haleine, s’enfuit Nicolette, Laissant là cornette et socques blancs.

Breathless, Nicolette fled, Leaving behind her cap and white socks.

Rencontra page joli, Chausses bleues et pourpoint gris: «Hé là! ma Nicolette, veux-tu pas d’un doux ami?»

Sage, s’en retourna, pauvre Nicolette, très lentement le Coeur bien marri.

She met a handsome Page with blue shoes and grey doublet: “Hey there, Nicolette, Don’t you want a boyfriend?”

Wisely, she turned away, poor Nicolette, very slowly, with an unhappy heart.

Rencontra seigneur chenu, Tors, laid, puant et ventru: «Hé là! ma Nicolette veux-tu pas tous ces écus?»

Vite fut en ses bras, bonne Nicolette, Jamias au pré n’est plus revenue.

She met an old lord, Twisted, ugly, stinky and fat: “Hey there, Nicolette, don’t you want these gold coins?”

Quickly she ran into his arms, good Nicolette, Never to return to the field.

Trois beaux oiseaux du paradis Trois beaux oiseaux du paradis, Three birds from paradise (Mon ami z’il est à la guerre) (My beloved is gone to war) Trois beaux oiseaux du paradis Three birds from paradise Ont passé par ici. passed by here.

Le premier était plus bleu que ciel, (Mon ami z’il est à la guerre) Le second était couleur de neige, Le troisième rouge vermeil.

«Beaux oiselets du paradis (Mon ami z’il est à la guerre) Beaux oiselets du paradis Qu’apportez par ici?»

«J’apporte un regard couleur d’azur. » (Ton ami z’il est à la guerre) «Et moi, sur beau front couleur de neige, Un baiser dois mettre, encore plus pur.»

«Oiseau vermeil du paradis, (Mon ami z’il est à la guerre) Oiseau vermeil du paradis, Que portez-vous ainsi?»

«Un joli cœur tout cramoisi.»

(Ton ami z’il est à la guerre) «Ah, je sens mon cœur qui froidit…

Emportez-le aussi.»

The first, blue as the sky, (My beloved is gone to war) the second, white as snow, the third, deepest red.

“Little birds from paradise, (My beloved is gone to war) Little birds from paradise, What are you bringing this way?”

“I bring you a look from sky-colored eyes.”

(Your beloved is gone to war) “And I, for your snow-white brow bring a kiss even purer.”

“Red bird of paradise, (My beloved is gone to war) Red bird of paradise, What are you bringing to me?”

“A heart all crimson.”

(Your beloved is gone to war) “Ah! I feel my heart growing cold…

Take it with you, too.”

Ronde Les Vieilles: The Old Women: N’allez pas au bois d’Ormonde Don’t go to the woods of Ormond, 43

Program Notes

Jeunes filles, n’allez pas au bois: Young girls, don’t go.

Il y a plein de satyres, There are plenty of satyrs, De centaures, de malins sorciers, Plenty of centaurs and evil sorcerers, Des farfadets et des incubes, des ogres, Hobgoblins and incubi, ogres and imps, des lutins, Des faunes, des follets, des lamies, Fauns, will o’ the wisps, lamies, Diables, diablots, diablotins, Flying devils of all sizes, Des chèvre-pieds, des gnomes, des demons, Goat-footed things, gnomes, and demons, Des loups-garous, des elfes, Werewolves, elves, soldier bandits, des myrmidons, Des enchanteurs et des mages, Enchanters and magicians, Des stryges, des sylphes, des moines-bourrus, Gargoyles, sylphs, and outcast monks, Des cyclopes, des djinns, gobelins, Cyclops, wicked genies, goblins, Korrigans, nécromants, kobolds. Sprites, necromancers, dwarves.

N’allez pas au bois d’Ormonde. Do not go to the woods of Ormond.

Les Vieux: N’allez pas au bois d’Ormonde, Jeunes garçons, n’allez pas au bois: Il y a plein de faunesses, De bacchantes et de males fées, Des satyresses, des ogresses et des babaïagas, Des centauresses et des diablesses, Goules sortant du sabbat, Des farfadettes et des démones, Des larves, des nymphes, des myrmidons, Hamadryades, dryades, naïades, Ménades, thyades, Follettes, lémures, gnomides, Succubes, gorgones, gobelines.

N’allez pas au bois d’Ormonde.

Les filles/Les garcons: N’irons plus au bois d’Ormonde, Hélas! Plus jamais n’irons au bois.

Il n’y a plus de satyres, Plus de nymphes, ni de males fées, Plus de farfadets, plus d’incubes, Plus d’ogres, de lutins, De faunes, de follets, de lamies, 44

The Old Men: Do not go to the woods of Ormond, Young boys, don’t go.

There are plenty of faunesses, Hedonists and malicious fairies, Satyresses, orgresses, crones, Centauresses, and she-devils, Witches from their Sabbath, She-hobgoblins, she-demons, Larves, nymphs, soldier-bandits, Tree nymphs, wood spirits, water nymphs, Hungry and drunken spirits, Will o’ the wisps, lemurs, female gnomes, Succubi, gorgons, she-goblins.

Do not go to the woods of Ormond.

The girls and boys: We don’t go to the woods of Ormond anymore, Alas! Never again will we go to the woods.

There are no more satyrs, Nor nymphs, nor malicious fairies, Hobgoblins and incubi, Ogres and imps, Fauns, will o’ the wisps, lamies,

Diables, diablots, diablotins, De chèvre-pieds, de gnomes, de demons, De loups-garous, ni d’elfes, de myrmidons, Plus d’enchanteurs ni de mages, De stryges, de sylphes, de moines-bourrus, De cyclopes, de djinns, De diabloteaux, d’éfrits, d’aegypans, De sylvains, gobelins, Korrigans, nécromans, kobolds, N’allez pas au bois d’Ormonde.

Les malavisées vieilles, les malavisés vieux Les ont effarouchés.

Flying devils of all sizes, Goat-footed things, gnomes, and demons, Werewolves, elves, soldier bandits, Enchanters and magicians, Gargoyles, sylphs, and outcast monks, Cyclops, wicked genies, Little devils, fire genies, capricorns, Tree-people and goblins, Sprites, necromancers, dwarves.

We don’t go to the woods of Ormond.

The old women and the old men Have scared them away.

Let Down the Bars, O Death Samuel Barber (1910 - 1981) Pennsylvania-born composer Samuel Barber became interested in music at a very early age. A triple prodigy in voice, composition, and piano, Barber had a long history with the Curtis Institute of Music in Philadelphia, beginning at the age of fourteen, and his place as one of the most important American composers to come of age between the World Wars is undisputed. Barber wrote in many musical idioms – opera, symphony, concerto, and song. Though Barber’s contribution to choral music was limited, the works that exist are staples of the repertoire. An excellent (although brief) marriage between two luminaries of the American artistic temperament, Barber’s treatment of Emily Dickinson’s poem, Let Down the Bars, O Death, uses stately dotted rhythms to evoke the unwavering march of mortality. However, the emotional landscape of the miniature remains true to the poetess, who once wrote in a letter to a friend: “…Death is perhaps an intimate friend, not an enemy…a preface to supremer things”.

Let down the bars, O Death The tired flocks come in Whose bleating ceases to repeat Whose wandering is done.

Thine is the stillest night Thine, the securest fold Too near thou art for seeking thee, Too tender to be told.

“Wait” Fantasy arr. Steve Hackman (b. 1980) “Wait” Music & Lyrics by Anthony Gonzalez/Yann Gonzalez/Morgan Kibby/ Brad Laner/Justin Meldal-Johnsen 45

Program Notes

Original material by Steve Hackman Composer, conductor, arranger, producer, pianist and singer/songwriter Steve Hackman combines a virtuosic skillset with musical eclecticism. A graduate of the Curtis Institute of Music, Hackman has worked in various roles with soloists and major ensembles, including the Indianapolis Symphony Orchestra, Time for Three, Michael Cavanaugh, and Chanticleer, among others. Fluent in a breadth of musical genres ranging from traditional classical to contemporary popular, Hackman embraces this wealth of diverse material and synthesizes it into a uniquely new and compelling language.

Commissioned in 2013 for Chanticleer’s release Someone New, Hackman was inspired by “Wait,” from the French band M83. “Wait” became a point of embarkation for what can only be described as an epic choral fantasy, incorporating I Sing to use the Waiting,

by Emily Dickinson. The repetitions of “No time”— impassioned and ethereal—break up the Dickinson text, creating a layered and dramatic meditation on Death and the illusion of Time.

No time, No time I sing to use the Waiting, My Bonnet but to tie And shut the Door unto my House No more to do have I No time Till His best step approaching We journey to the Day And tell each other how We sang To keep the Dark away.

Send your dreams where nobody hides.

Give your tears to the tide.

No time, No time There’s no end.

There’s no goodbye.

Till His best step approaching…

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There’s no end.

There’s no goodbye.

Disappear with the night.

Send your dreams where nobody hides.

Give your tears to the tide.

There’s no end.

There’s no goodbye.

Disappear with the night.

No time, No time I sing to use the Waiting No time I sing to keep the Dark away There’s no end or goodbye…

No time Till His steps approaching We journey to the Day And tell each other how We sang To keep the Dark away.

No time Give Me Hunger Stacy Garrop (b. 1969) Stacy Garrop, a Chicago-based composer and Bay Area native, is busy with commissions from across the United States. Her work covers a wide spectrum of sounds, from symphonies to chamber music, string quartets, solo songs, and choral music. Give Me Hunger is Garrop’s first composition for Chanticleer, and she shares these thoughts on the poetry and music: Carl Sandburg (1878-1967) was an American author known for his hard, unflinching observations that allow readers to experience Sandburg’s pride, disdain, love, hatred, and sympathy for humanity through his works. His poetry grasps the best and worst of mankind, from the noblest aspirations of man to the subjugation of the poor, as well as the trials and tribulations of the working class. Very few poems expose his softer side, and even fewer reflect his thoughts on love. “At a Window” (the poem’s original title) is one of these rare gems. Sandburg starts the poem angrily, challenging the forces that control 47

Program Notes

the universe to take away all that he has; this anger quickly gives way to a surprising gentleness as he asks for love in place of all else. In my piece (titled Give Me Hunger, drawn from the first line of text), I reflect Sandburg’s enraged voice with a relentless ostinato (a repeating gesture) coupled with dissonant chords; for the poem’s softer side, I employ lush harmonies to anticipate the “coming of a little love.”

Give me hunger, O you gods that sit and give The world its orders.

Give me hunger, pain and want, Shut me out with shame and failure From your doors of gold and fame, Give me your shabbiest, weariest hunger!

But leave me a little love, A voice to speak to me in the day end, A hand to touch me in the dark room Breaking the long loneliness.

In the dusk of day-shapes Blurring the sunset, One little wandering, western star Thrust out from the changing shores of shadow.

Let me go to the window, Watch there the day-shapes of dusk And wait and know the coming Of a little love.

“At a Window” from CHICAGO POEMS by Carl Sandburg. Copyright 1916 by Houghton Mifflin Harcourt Publishing Company and renewed 1944 by Carl Sandburg. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.

A Boy and a Girl Eric Whitacre (b. 1970) An accomplished composer, conductor and lecturer, Eric Whitacre has received composition awards from ASCAP, the Barlow International Composition Competition, the American Choral Directors Association, and the American Composers Forum. In 2001 he became the youngest recipient ever awarded the coveted Raymond C. Brock commission by the American Choral Directors Association; commercially he has worked with such luminaries as Barbra Streisand and Marvin Hamlisch. In the last ten years he has conducted concerts of his choral and symphonic music in Japan, Australia, China, Singapore and much of Europe, as well as dozens of American universities and colleges where he regularly conducts seminars and lectures with young musicians. He received his M.M. in composition from the Juilliard School of Music, where he studied composition with Pulitzer Prize-winner John

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Corigliano. A Boy and a Girl, one of Whitacre’s most harmonically direct works, presents serial vignettes in the lives of two persons in love, from youthful stretching out in leisure and romance, to the grave and eternal embrace.

Stretched out on the grass A boy and a girl Savoring their oranges Giving their kisses As the waves exchange foam Stretched out on the beach A boy and a girl Savoring their limes Giving their kisses Like clouds exchanging foam Stretched out underground A boy and a girl Saying nothing Never kissing Giving silence for silence Flower of Beauty John Clements (1910- 1986) While not a folksong in the strictest sense, Flower of Beauty sets a lilting melody to a lovely harmonization, at once reminiscent of folk singing and inspired by the English part-song style listeners might associate with Elgar or Stanford. The text is by British poet Sydney Bell, and was set to music by fellow Englishman John Clements in 1960.

She is my slender small love, my flow’r of beauty fair From the whiteness of her little feet to the shining of her hair; More fair she is than April rain on daffodil or tree: She is my slender small love, my flow’r of beauty, she.

I know she walks in the evening down by the riverside, And the grasses lean to kiss her robes who soon will be my bride: 49

Program Notes

More dear to me her little head than earth or sky or sea!

She is my slender small love, my flow’r of beauty, she.

L’amour de moy Traditional French, arr. Alice Parker/Robert Shaw This arrangement of a fifteenth-century French folksong, by two of America’s twentieth century choral luminaries, blends contemporary harmony with an ancient melody. The text is rich with sumptuous imagery and blushing love. While entirely secular, the piece uses much of the same imagery as the Song of Songs and plays on many of the same sensual and reverent impulses.

L’amour de moy s’y est enclose Dedans ung joly jardinet, Ou croist la rose et le muguet Et aussy fait la passerose.

Ce jardin est bel et plaisant, Il est garny de toutes fleurs; On y prend son esbattement Autant la nuit comme le jour.

This garden is beautiful and pleasant, It is filled with all flowers; There, one can find pleasure During the night as well as the day.

Hélas! Il n’est si douce chose Que de ce doulx roussignolet, Que chante au soir au matinet: Quant il est las il se repose.

Alas! There is no sound so sweet As that of this gentle nightingale Who sings from dusk to dawn: When he is tired, he rests.

Je la vy l’autre jour ceuillir La violette en ung verd pré, La plus belle qu’oncque je veis, Et la plus plaisante a mon gré.

I saw her the other day Gathering violets in a green meadow, The most beautiful thing that I could see, And the most pleasing to my taste.

L’amour de moy, ma douce rose!

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My love has enclosed herself Within a charming garden, Where the rose and the lily of the valley grow, And also the hollyhock.

My love, my sweet rose!

Two Chinese Folksongs Traditional Chinese, arr. Chen Yi/Steven Stucky (Xiao He Tang Shui) 太阳出来喜洋洋 (Tai Yang Chu Lai Xi Yang Yang) These two popular Chinese folksongs were co-arranged by Chen Yi and Steven Stucky for the Cornell University Chorus and Glee Club, who premiered the works in Beijing in 2008.

The Yunnan love song Xiao He Tang Shui (“The Flowing Stream”) was arranged by Chen Yi. It segues into Tai Yang Chu Lai Xi Yang Yang (“The Sun is Rising with Our Joy”), a Sichuan working song arranged by Stucky. In the conclusion, the two tunes overlap to create an organic whole.

(Xiao He Tang Shui) The rising moon is bright, my sweetheart is in the deep mountain, he is like the moon walking in the sky. My sweetheart! The flowing stream around the mountain is clear aside.

The moon is shining over the hillside, looking at the moon and thinking of my sweetheart, the breezes are sweeping past the hillside. My sweetheart! Don’t you hear me cry? 太阳出来喜洋洋 (Tai Yang Chu Lai Xi Yang Yang) The sun is rising, up to the mountain with my shoulder pole.

The hatchet is in my hand, I am not afraid of wild beast.

Passing many mountains, one after another.

If we work hard, we don’t have to worry about food and clothing.

Oy, polná, polná korobushka Traditional Russian, arr. Constantine Shvedoff The lyrics for Oy, polná, polná korobushka, come from a verse-novella by Nikolai Nekrasov called The Peddlers. These sellers were a common sight in nineteenth-century Russia, and this song ostensibly tells the tale of a young lad willing to give up all of his merchandise to win his true love. The text, however, is open to other, more ribald, interpretations.

Oh, how full, how full is my basket With Calicoes and brocades!

Have pity, my sweetheart, Take the burden off my shoulders!

I’ll go into a rye field And there will wait for you till night.

When I see my dark-eyed love, all my wares I’ll display.

The foggy night has fallen, And the brave lad is waiting.

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Program Notes

Hark! At last she comes, And the peddler sells his wares.

Only the dark night knows The agreement they made.

Straighten up, tall rye, And loyally keep their secret.

So in Love Cole Porter, arr. Joseph Jennings Willow, Weep for Me Ann Ronell, arr. Joseph Jennings Although well known for his arrangements of gospel and spirituals, Joseph Jennings wrote in a variety of styles during his tenure as Music Director of Chanticleer. Both of these virtuosic arrangements blend Jennings’ musical heritage with the popular and jazz idioms of the Great American Songbook.

Chega de Saudade (No More Blues) Antonio Carlos Jobim, arr. Jorge Calandrelli Portuguese lyrics by Vinicius de Moraes, English lyrics by Jon Hendricks/Jesse Cavanaugh Jobim’s bossa nova classic, Chega de Saudade, needs little explanation. The piece proved to be a fitting opportunity to work with GRAMMY Award-winning arranger Jorge Calandrelli, who wrote several arrangements for Chanticleer’s album Lost in the Stars. The opening and closing of the piece are sung in Jobim’s native Brazilian Portuguese.

Chega de saudade a realidade é que sem ela não pode ser… (“No more longing, the reality is that life can’t go on without her…”)

Vamos deixar desse negócio de você viver sem mim! (“Let’s stop this nonsense of you living without me!”)

Thanks to Virginia de Freitas Battersby for Portuguese translation and assistance.

Hamburg Song Tom Chaplin/Richard Hughes, arr. Steve Hackman German text excerpted from the traditional Hamburg-Hymne At a performance in Hamburg, Germany, a member of Keane remarked to an ecstatic crowd, “This is called ‘Hamburg Song.’ I wish I could say it reminds me of the good times, but…” Any music-lover can relate—a melody can bring back memories, seemingly from nowhere. Steve Hackman (“Wait” Fantasy) offered to arrange this piece, and in his finished work he captured all the hope, labor, defeat, and love that the band put into their original recording.

Hamburg an der Elbe Auen, wie so herrlich stehst du da.* (“Hamburg on the meadows of the Elbe, you stand so splendidly there.”) *An excerpt from the city anthem of Hamburg, Germany, penned in 1828.

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Mirrorball Elbow/Guy Garvey, arr. Peter Eldridge The British band Elbow has been soaring just beneath the mainstream since their debut album was released in 2001. Peter Eldridge, from the New York Voices, captures the weightless, elevated feeling of new love in this arrangement, his first for Chanticleer.

I Feel Better Wally De Backer, arr. Darmon Meader Gotye exploded into the zeitgeist with his 2011 album, Making Mirrors. Darmon Meader, of the New York Voices, has become quite well known in the a cappella world for his outstanding jazz arrangements. The jazz shuffle and harmonies inspired by legendary vocal ensemble Take 6 are a departure from the feel of the original album track, however, the arrangement reveals the song in a new light and allows for a re-imagined, intricate bass line.

Ring of Fire June Carter Cash/Merle Kilgore, arr. Michael McGlynn To fashion this iconic Johnny Cash tune into a choral arrangement, Michael McGlynn (a familiar name to Chanticleer audiences) reimagined both the atmosphere and harmony of the piece, channeling the melancholy lyrics and the low-lying melody.

Washing of the Water Peter Gabriel, arr. Mason Bates Mason Bates, winner of countless awards for his innovative compositions, bridging the divide between classical music and electronica, shared these thoughts on his arrangement of Peter Gabriel’s classic: “Every day when I worked on this, I was brought a little bit closer to my emotional core. Its simplicity, tethered to a deep and genuine plaintiveness, rank it with any folksong that I know.”

Both Sides Now Joni Mitchell, arr., Vince Peterson A self-described “painter derailed by circumstance,” Joni Mitchell turned her focus toward music as a means to support herself during several years spent at art school in her native Canada. Her musical journey is legendary—many consider Mitchell to be the most important female recording artist of the 20th century. Both Sides Now was written in 1967 on an airplane, as the young songwriter watched clouds float beneath the aircraft. It was covered by several artists before Mitchell recorded it herself on her 1969 album Clouds. Mitchell reimagined the song on her 2000 album, for which it became the eponymous track. This arrangement, by Vince Peterson (Cells Planets, Temptation) was inspired by both of these recordings.

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Program Notes

Spiritual Medley Trad. Gospel/Spiritual, arr. Joseph Jennings Poor Pilgrim of Sorrow* Sit Down Servant Plenty Good Room* Keep Your Hand on the Plow*† Trad. Spiritual, arr. Joseph Jennings In the course of his extended tenure with Chanticleer, Joseph Jennings’ arrangements have become popular favorites with audiences worldwide. These final selections are examples of his ability to inject the vocal freedom inherent in the Southern Baptist tradition into the structure of classical music.

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About the Artists

Eric Alatorre bass Eric Alatorre joined Chanticleer in the last century. Really. Now the provider of much of the Chanticleer lore from former times, he is enjoying sharing the joy of singing with some of his colleagues who are, quite literally, a new generation of singers. He still enjoys being able to perform all over the country and the world, which gives him plenty of time to explore his other passion: food.

A part-time hedonist and full-time wine enthusiast, he is always looking for another wonderful dining experience to share with friends and his fellow singers on the road.

His other passions include promoting Apple products to others, eating his way around the world, being married to his wonderful wife Dorothee, and enjoying watching his daughter Mia discover the joys of learning English, German, and Spanish.

Michael Bresnahan tenor Ben Jones is thrilled to be in his second year with Chanticleer. A West Virginia native, he received his B.M. in Vocal Performance at the Chicago College of Performing Arts, where he studied with Mark Crayton and Matthew Chellis and sang several leading roles. He then received a Master’s Degree in Music Education from VanderCook College of Music and worked as a choir teacher at a high school in downtown Chicago. He sang with some of the finest church choirs in Chicago, including the choirs of Our Lady of Mount Carmel Church and Fourth Presbyterian Church. His other interests include country

two-stepping, random adventures, and delicious food.

Brian Hinman tenor Brian Hinman is in his eighth season with Chanticleer. Born in the suburbs of Chicago, he spent his childhood singing in choirs. Brian studied vocal performance at the University of Tennessee in addition to acting at the Larry Singer Studios and jazz with Joe Solomon, both in New York City. He has sung with rock bands, bluegrass bands, and gospel choirs and has a long string of theater credits including lead roles in regional productions of Company and How to Succeed in Business Without Really Trying. This is also Brian’s eighth season as Chanticleer’s Road Manager. He recently Co-Produced Chanticleer’s latest pop/jazz studio album, Someone New, with Leslie Ann Jones and Jace Wittig.

Ben Jones tenor Ben Jones is in his fifth season with Chanticleer.

Before joining the ensemble, he enjoyed a career in theatre and solo singing, performing professionally in productions including Follies (Buddy), Show Boat (Ravenal), Thoroughly Modern Millie (Jimmy), Cats (Munkustrap/Quaxo) and Sweeney Todd (Tobias) in addition to skewering multiple figures from pop culture (Michael Jackson, George W. Bush, John Travolta, Bill Clinton, Michael Phelps) in the long-running San Francisco revue, Beach Blanket Babylon. Jones’ versatile voice can be heard on recordings on the Albany label 55

About the Artists

and on national commercial spots for Meow Mix and Coors Light. As a concert soloist, he has shared the stage with Nathan Gunn, Rita Moreno, Helmuth Rilling, Val Diamond, and Ian Hobson. Jones is an avid arts educator, having lectured regularly on music form and analysis in addition to conducting for multiple Bay Area youth orchestras, including the San Jose Youth Symphony.

Jones holds a bachelor’s degree in film theory and analysis from the University of Illinois as well as a master’s degree in music from the San Francisco Conservatory of Music, where he studied voice with Cesar Ulloa and conducting with Michael Morgan.

Matthew Knickman baritone Matthew Knickman is proud to be in his third season with Chanticleer.

Born in Korea, he started singing as a member of the St. Stephen’s Cathedral Choir of Men and Boys in Harrisburg, Pennsylvania.

He graduated from Westminster Choir College of Rider University with a B.M. and M.M. in Voice Performance and Pedagogy. While at Westminster, he sang with the critically acclaimed Westminster Choir and Westminster Kantorei in multiple performances with the New York Philharmonic, Dresden Philharmonic, and New Jersey Symphony. Prior to joining Chanticleer, he also performed with various organizations such as Les Violons du Roy et La Chapelle de Québec, Early Music New York, Masterwork Chorus, Antioch Chamber Ensemble, Opera Company of Philadelphia, Opera Theatre of Weston, and Spoleto Festival U.S.A. He has been a soloist in numerous oratorios and Bach cantatas including the St. John and St. Matthew 56

Passions with early music organizations such as Fuma Sacra, the Philadelphia Bach Festival, and Carmel Bach Festival. In 2010, he was a Finalist in the Sixth Biennial Bach Vocal Competition for American Singers.

When not singing, Matthew enjoys skydiving, comfort foods, and is an exercise and nutritional science enthusiast.

Cortez Mitchell alto Cortez Mitchell is a native of Detroit, MI. He graduated from Morgan State University with a B.A. in music and a B.S. in mathematics and holds an M.M. in voice from the University of Cincinnati’s College Conservatory of Music.

As Minnesota Opera’s first resident artist countertenor he performed the role of Cherubino in Mozart’s Le Nozze di Figaro and covered Nicklausse in Offenbach’s Les Contes de Hoffman. With Urban Opera he performed the role of 1st Witch in Purcell’s Dido and Aeneas. He has been featured in solo performances of J.S. Bach’s Cantata 147 Herz und Mund und Tat und Leben with the Dayton Philharmonic, R. Nathaniel Dett’s The Ordering of Moses, and Adolphus Hailstork’s Done Made My Vow with the Baltimore Symphony Orchestra, Rachmaninov’s Vespers in St. Petersburg, Russia, and Wynton Marsalis’s All Rise with the Lincoln Center Jazz Ensemble. Cortez has received awards from the National Opera Association, The Washington International Competition, and the Houston Grand Opera Eleanor McCollum competition. Mr. Mitchell is in his seventh season with Chanticleer.

Gregory Peebles soprano and Assistant Music Director Cortez Mitchell is thrilled to be returning for his sixth season with Chanticleer. Originally from Hartselle, Alabama, he first performed for the public as a very young boy with his family singing gospel music. Eventually, he left the revival circuit for The University of Mississippi in Oxford. After graduating cum laude from “Ole Miss” he found his way to Chicago, where he sang with musicians in such prestigious ensembles as Schola Antiqua, an ensemble in residence at the University of Chicago, as well as the choruses of Lyric Opera of Chicago and Chicago Symphony Orchestra. More recently, he completed his graduate degree in Vocal Performance at Chicago College of the Performing Arts, where he studied with Mark Crayton. In addition to his singing he is also a composer whose works have been performed in the USA and Europe. In his spare time, he enjoys poetry and exploring San Francisco, the most recent addition to a list of beautiful cities he can call Home.

Kory Reid soprano Kory Reid is in his third season with Chanticleer.

He studied music education at Pepperdine University and completed a Master’s Degree in Choral Conducting from the University of Southern California. Kory is a sought-after countertenor soloist who has sung for Los Angeles Zimriyah Chorale, Los Robles Master Chorale, Catgut Trio, USC Chamber Singers, Pepperdine University Concert Choir, and Collegium Musicum, and for

many diverse choral recitals and church music programs in Southern California. He is a barbershop music enthusiast, was a district finalist in the quartet contest and a past member of the Westminster Chorus, winning the International Barbershop Chorus Contest in 2010. Kory also served as the Music Director for St. Matthew’s United Methodist Church in Newbury Park, CA. In his spare time, he enjoys watching movies, tasting new wines, and eating Doritos.

Alan Reinhardt alto Alan Reinhardt is pleased to be in his eighth season with Chanticleer. He grew up in Long Island, NY, and prior to joining sang with various ensembles in New York City including The Men and Boys Choir at St. Thomas Church on Fifth Avenue, Early Music New York, and choral performances with the New York Philharmonic. In 2005, he sang the lead countertenor role in the premiere of the dance/opera A More Perfect Union in the State Theatre in Perm, Russia, as part of the Sergei Diaghilev Festival.

Recently, he has been exploring his love of poetry on the website Voetica.com where you can find him reading classic American poets Robert Frost and Richard Wilbur. Alan holds degrees from SUNY Potsdam and the University of Illinois in Champaign-Urbana.

Marques Jerrell Ruff bass-baritone Marques Jerrell Ruff is elated to begin his journey with Chanticleer. A New England native (Connecticut), Marques is a graduate of Central Connecticut State 57

About the Artists

University where he received a B.A. in Voice Performance and also founded and directed the all-male a cappella ensemble, Divisi. He has been privileged to appear in concert as a soloist with the Hartford Symphony, Voce, Inc., and CONCORA. He has been the recipient of top honors from the National Association of Teachers of Singing Voice Competition and the Classical Singer Competition. A lover of classical and choral music, he is also an avid jazz, gospel, and Broadway performer, and has been featured in the Hartford Jazz Festival, Buck Hill Skytop Music Festival, and appeared in regional theater productions of Rent and Ain’t Misbehavin’. He wishes to send all of his love to his family and friends back home, and a special shout-out to his inspiration and love, Beyoncé!

Darita Mara Seth soprano Darita Mara Seth is honored to be in his first season with Chanticleer.

Born and raised in Columbus, Ohio, he gained recognition as a young church musician singing and playing piano in worship teams. Darita attended the Conservatory of Music at Capital University, studying vocal performance. While at Capital, Darita sang with the renowned Chapel Choir, was a founding member of the chamber ensemble, Philomel, and performed in numerous productions. While completing his undergraduate degree, Darita served as artistic director for the Hillcrest Baptist Sanctuary Choir and first gained experience singing countertenor at Saint Joseph Cathedral. Additionally, Darita has recorded with AireBorn studios for various new music publications. He is a proud alumnus 58

of the Interlochen Arts Academy and Camp, where he participated in the composition, opera, and choral programs. Darita enjoys serving his time as a mentor for young choral students. His other interests include cooking meals of his Cambodian-American roots, video blogging, and walking dogs.

Adam Ward alto Adam Ward is originally from Tecumseh, Oklahoma. At an early age Adam became fascinated with the voice of Patsy Cline and as a child he made a number of television appearances singing Cline’s songs. Mr. Ward began singing countertenor while studying French horn performance at Yale University. There he was also a founding member of the Yale Schola Cantorum. He has since performed as soloist with the International Contemporary Ensemble and was a member of the Choir of St. Mary the Virgin at the famed “Smoky Mary’s” in midtown Manhattan. As a horn player, Adam was a member of the Verbier Festival Orchestra, winner of the concerto competitions at Yale and Stony Brook Universities, and was a top prize-winner at the Coleman, Fischoff, and Yellow Springs national chamber music competitions. He is currently composer-in-residence for the New York City-based Choral Chameleon directed by Vince Peterson. Adam holds a BM from Manhattan School of Music, MM from Yale School of Music, and additional years of study at the Hartt School, Royal College of Music (London), and Stony Brook University. Adam is overjoyed to be in his eighth season with Chanticleer.

Jace Wittig Interim Music Director Jace Wittig is pleased to be in his eighth season with Chanticleer. An Indianapolis native, he began his musical training early with the Indianapolis Children’s Choir, touring often in North America and Europe. He received his B.M. in Vocal Performance at Ball State University in Muncie, Indiana, studying voice with Dr. Craig Priebe and piano with Dr. Jim Helton. Before joining Chanticleer, he sang in Indianapolis with Cantabile and also worked as a studio singer at AireBorn Studios. He has worked as an Artist in Residence at the San Francisco School of the Arts, teaching in the classroom and directing small ensembles. His other interests include stumbling through old piano music and cooking for his loved ones.

He is glad to have the unending support of his friends and family, and thrilled to have the opportunity to work with Chanticleer.

Ben Johns Director of Education Ben Johns finished his master’s degree in Choral Conducting in 2009 at the University of California, Irvine, and holds undergraduate degrees in Dance, Vocal Performance, and Chemistry. Mr. Johns earned merit-based graduate fellowships, teaching assistantships, and scholarships from the Tom and Elizabeth Tierney, Ann and Gordon Getty, Mary and Philip Lyons, and Sunny Brown Scholarship Foundations. He also earned the Chancellor’s Award for Excellence in Undergraduate Research for his honor’s thesis topic, “Exploring the Neurobiological Basis for the Effect of Movement on the Voice,” a topic he

presented at the American Association of Physics Teachers conference at California State University, Sacramento, in 2004. Ben sang in the Chanticleer ensemble for three years before moving to his current position as Chanticleer’s Director of Education. His education duties include, but are not limited to, directing Chanticleer’s LAB Choir and giving master classes to Bay Area high school and middle school choirs. Outside Chanticleer, Mr. Johns is artistic director of Musae, teaches voice privately, and continues to sing and conduct.

Christine Bullin President and General Director Christine Bullin, Chanticleer’s President and General Director, oversees the organization’s artistic and administrative activities. Prior to joining Chanticleer, Ms. Bullin served as the Director of the Centre de formation lyrique for the Opéra National de Paris, directing a new training center for singers. During her tenure there, she managed all administrative, financial, and artistic activities, and produced numerous operas and concerts. From 1982-1993, Ms. Bullin was the Director of the San Francisco Opera Center, which she created from existing and new programs and which is now revered throughout the operatic world. Among her initiatives were a longterm exchange program with the Shanghai Conservatory, and Pacific Voices, a project which involved ten Pacific Rim countries.

She was the Executive Producer for three video documentaries about the SF Opera Center, including the Rocky Mountain Emmy-winning Scaling the Wall, featuring the historic visit of Western Opera Theater to China. In recognition of her work in San Francisco, she was the recipient of 59

About the Artists

the Bernard Osher Cultural Award. Prior to joining the San Francisco Opera, she directed the touring company of the Opera Company of Boston. Ms. Bullin is a frequent panelist for the National Endowment of the

The

CafĂŠat Center is back!

The

The CafĂŠ will be open at Center Series performances, one hour before curtain as well as during intermission.

Stop by and enjoy fresh and delicious food and beverages.

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Arts and a frequent jury member for vocal competitions. A native of New Zealand, she holds degrees from Wellesley College and Simmons College, and was a Peace Corps volunteer in Liberia.

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I M A G I N E

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A professional facility maintained by a professional staff. Four theatres of varying sizes. Well-equipped technical support spaces, including large backstage areas and state-of-the-art electronics, audio, paint, scene, costume, and prop shops. Large lobby areas and small break-out rooms. All can be adapted in a myriad of ways to suit your needs. Call today to schedule a tour and start planning.

For more information or to schedule a tour please call 914-251-6222.

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The Performing Arts Center Foundation Board of Trustees

Christopher T. Clark Tom Lalla Harry McFadden Vivian Milstein Dr. Betty B. Osman Barry Pearson Dean Schaffer Thomas J. Schwarz Hannah Shmerler Jeannine Starr Carol A. Strickberger Lucille Werlinich

Emily Grant Purchase College Foundation Chair Emerita Donald Landis The Performing Arts Center Foundation Chair Emeritus Ann Scheuer The Performing Arts Center Foundation Chair Emerita

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Join Us! Each year The Performing Arts Center holds an annual benefit which supports the world-class performances we all have come to enjoy at this cultural landmark in Westchester and Fairfield Counties.

Last year guests attended An Evening Under the Stars, A Gala Honoring Vivian Milstein with Barbara Cook on Saturday, April 20, 2013. Get a taste of a glamorous evening at The PAC with the photos to the left.

Make this the year you find out why everyone is talking about The PAC and join us at this year’s benefit, the Snazzy Bash on Saturday, May 3, 2014.

Turn to page 38–39 for more details.

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The Performing Arts Center Staff

Director Harry McFadden

Sarah Recca Associate Director of Development

Production Christy Havard Director of Production

Administration & Finance Dan Sedgwick

Shaunice Jordan

Peter Specce

General Manager

Coordinator of Advancement

Karl Duchek

House Management Leah Springer

Assistant Director of Production

Director of Finance, Campus Foundations

Justin Herminghouse

House Manager

Audio Supervisor

Gilbert Leib

Janice Kahl

Peter Wylie

Assistant Director of Finance, Campus Foundations

Assistant House Manager

Lighting Supervisor

Kristen Barbagallo Ellen Belok Lisa Finger Rachel Kodweis Peter Polinski Ryan-Ashleigh Reid Maya Yoshida

Bennett Marrow

Teresa Milne-Davis Accountant, Campus Foundations

Coni Guhl Administrative Coordinator

Kimberly Cook

Performance Managers

Booking Manager

Mary Broege

Marketing Mara Rupners

Receptionist

Marketing Director

Programming & Education Seth Soloway

David Mayhew Public Relations Consultant

Programming Manager

Facilities Itzy Ramos

Rosalie Sauerhaft

Facilities Manager

Education Director

Tom Staudt Ian Driver

Building Technician

Manager of Education

Arthur Civitella Dominique Schwenner Education and Artist Services Coordinator

Development Jeannine Starr Vice President of Institutional Advancement, Purchase College

Custodial Supervisor

Carmen Carvajal Luis Duque Marie Williams Jorge Lara Juan Martinez Custodial Crew

Production Coordinator

Shalon Palmer Production Coordinator

Eric Behnke Production Coordinator

Jon Hatton Assistant Audio Supervisor

Stage Crew Gerard Bourcier Jim Chin Peter Cole Paul Copeland Tim Folster Kyle Frosco Jeff Gottesfeld Tim Plummer Vinny Procker Lloyd Rothschild Andy Ryder Jason Tipa John Ward Ticket Office Tania Mather Ticket Office Manager

Jessica Damrow Sherman Assistant Ticket Office Manager

68

The Performing Arts Center Student Staff

STUDENT STAFF Administration Kristen Breitmaier Paige Gilbert Thomas Greco Artemis KarotseriVermeulen Nicholas Leef Joshua Lopez Robert Turner Programming & Education Chris Alberti Matt Pisciotta* Development Courtney Barth Jonathan Cain Josh Dwyre Josephine Haas Campbell Habetz Caitlin Kenyon Jacob Lisabeth Jessica Pivnik Rebecca Scalese Marketing Steven Usen* Operations Ori Bensimhon Andrew Boreyko Jennifer Dear Jane DiBartolo Kyle Ferguson Jordan Moore Jesse Ortigas Natalie Price Ticket OfďŹ ce Danielle Alvarez Larissa Asebedo Jessica Bullock

Madelyn Eltringham Matia Emsellem Joshua Hall Lorenzo Kleine Marie London Kristen McGuire William Murray Will Noling Joe Sabia House Assistants Dillon Derosa Leianna Frazier Jonathan Gatson Edward Hardy Matthew Hernandez Miranda Hughes Aaron Kass Richard Liverano Kallan McMillan Joseph Natale Michael Piazza Kim Stucco Krystalina Tom Head Ushers Sarah Ford Jonathan Gatson Bethany Handzel Dillon Derosa Ushers Keith Armbrust Ori Bensimhon Christine Beard Olivia Black Nahjaee Blackmon Jose Buitrago Jonathan Cain Jessica Carlisi Sara Donnellan Eve Fairbanks Sarah Ford

Neema Frazier Alanna Ginsberg Aaron Glazer Tara Goodman Sarah Guzman Conrad Hamonet Janet Katsnelson Brian Kenney Victoria Lacolla Samatha Martino Caitlin McCutcheon Renece McLean Kellie Murad Nicholas Palmeri Julia Podpora Sebastian Pray Sebastian Rametta Thomas Roach Justin Rosen Janice Rost Brigid Slattery Hannah Speregen Emma St Jacques Kim Stucco Krystalina Tom Kellie Wood Allegra Verlezza Sophia Zukoski CafĂŠ Staff Maya Yoshida Supervisor

Dillon Derosa Edward Hardy Miranda Hughes Peter Katz Richard Liverano Sophia Zukoski

*Intern

69

The Performing Arts Center Foundation Annual Fund Campaign

Leaders' Circle ($25,000 and above) ArtsWestchester Vivian Milstein The Frog Rock Foundation Benefactors' Circle ($10,000-$24,999) Joan and Robert Arnow Fund Helena Rubinstein Fund Sue Levy David and Susan Mullane Pernod Ricard USA Janice Rabinowitz Dean and Linda Schaffer Hannah and Walter Shmerler Carol and Daniel Strickberger Tanaka Memorial Foundation Karin and Douglas Waggoner Mr. and Mrs. Alan G. Weiler Director's Circle ($5,000-$9,999) Anonymous Shari and Jeff Aronson Mr. and Mrs. Christopher T. Clark Dr. Barbara B. Dixon Mr. and Mrs. John Irwin III Jennifer and Jim Sandling Karin and Mitchell Weisburgh Lucille Werlinich Patron's Circle ($2,500-$4,999) Fay and Norman Burger

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Joseph and Joan Gorman Mrs. Carl Kempner Stephen and Nita Lowey Betty and Al Osman Elaine and Edmund Schroeder Deborah and Alan Simon SummerTech Sally K. Thomson Donors' Circle ($1,000-$2,499) Anonymous Mr. Desmond Fitzgerald Kathleen N. Artese Michael and Margherita Baldwin Mr. and Mrs. Roy Bostock Norman W. Bernstein and Michele Braun Phyllis Canter Helen Clay Chace Barbara and Richard B. Dannenberg Peter Cook and Thea Duell Giovannella and Edward Dunn Arline and Paul Gardner Mary and James Larkin Barbara and Stanley Goldstein Marilyn and Gary Hellinger Dr. Matthew and Cynthia Hertz Charitable Lead Trust Debbie and David Levitt Barbara Lynn Lisi Paul and Barbara Jenkel Mrs. Penelope D. Johnston-Foote Kathryn and Harry W. Schwarzschild Fund Maryln Kimmel

Barbara L. Klauber in memory of Arthur Klauber Thomas R. Lalla Jr. Joanne and Norman Matthews Thomas S. Murphy Senator Suzi Oppenheimer and Mr. Martin Oppenheimer Erroll and Martha Rhodes Pamela Becker and James M. Roberts Lila Roberts Lucy R. Waletzky, M.D. Dr. Nathan E. Saint-Amand Ann M. Scheuer Diane and David Schonberger Dr. and Mrs. Ronald H. Spiro Mr. and Mrs. Arthur H. Stampleman Target Corporation Carole and Fred Taylor Walter Curchack and Stacy Thomas Lesley and Tom Todaro Alice Wang and Peter Spiegelman Mrs. Joan Warburg David and Martha Zornow Dorothy and Arthur Zuch Contributor ($500-$999) Two Anonymous Peter N. Berns Dr. M. Donald and Paulette Blaufox Margaret L.B. Collins Mr. and Mrs. Constantine Dan and Karen Cooper

John and Nancy Dexter Michael and Mary Gellert Marjorie Gilbert Foundation Dr. and Mrs. Stephen Gray Patricia Jacobs Marcella Kahn Barbara and Frank Klein Fran and Bill Klingenstein Jill L. Leinbach Austin and Bonnie Lempit Mrs. Marion H. Levy Margot T. Linton Ken and Melinda Marshall Janis and Alan Menken Foundation Ruth and Irwin Merkatz The Netter Foundation Laurie S. Nevin Kathy O'Shaughnessy Charles and Diana Revson Nataly and Toby Ritter Jill and Sam Sheppard Ellen F. Simon Barbara and Herbert St. Lifer Nancy and Roger L. Strong Jr. Kathy Sachs The Summerhill Foundation Nataly and Toby Ritter Linnet Tse and John Forsyth Marin Cosman and George Vaida Devotee ($250-$499) Anonymous Abbe Berman Foundation Trust Mr. and Mrs. Per Arneberg Edda Callahan

Robert and Mary Capaldi Maryann and Jay Chai Susan and Ira Deutsch Georgia M. Doran Dr. and Mrs. Shelly Eisenman Dvora and Alfred Fields Mr. and Mrs. Jim Fishbein The Flamm Family Roland and Mary Ann Folter Jackie and Bud Freedman Gabriele and Max Greenstein Mr. and Mrs. Donald E. Handelman Kenneth Hollister David and Laura Holmes Helene and Howard Katz Franz and Leslie Kraus Monica Lee Julie and Dick Leerburger Dr. and Mrs. Peter Liebert Emily and Torsten Marshall Karen and Charlie Menduni Mr. and Mrs. Lawrence Nokes Daniel O'Day Joanne Peyser and Robert Bresler Sharon and Irving Picard Judith and Don Pinals Jill E. Rosen Laura J. Schachter Isabelle Sherlock Maida Snapper Dr. Robert and Judy Soley Dr. Robert and Mrs. Amy Sommer Audrey and Richard Steuer Sam and Ellie Telzer Herb and Liz Tulchin Mr. and Mrs. Robert Wax

Supporter ($100-$249) Three Anonymous Louise Albin and Susan Cohen Elyse and Joshua Arnow John K. Ayling L. Balthazar Mr. and Mrs. Bernard Bartner Peter Bauer in memory of Emily Bauer Caroline G. Bauman, M.D. Aileen Baumgartner and Thomas Gora Joshua and Lynne Berett Kathy Biehl Roslyn N. Black, in honor of Dr. Morton Black Dr. and Mrs. Charles Blatt Susan and Richard Blomberg Mr. Richard Bobbe Stanley Boorman John and Lois Bregstein Herman and Eleanor Brot Ronald E. Brown Susan Carlson Sherry Cornachio and Gordon Blackwell Joan and Al Chasen Charlotte Christ Constantine and Joan Christos Judy and Martin Cohen Mary Jane and Mark Cohen John A. Coleman Patrice and Elliot Coleman Dorothy Cooper Mr. and Mrs. John Coppinger Fay and Timothy Curtin Trish and Raymond Dayan 71

The Performing Arts Center Foundation Annual Fund Campaign

Anita and Anthony Dowding Cheryl and Daniel Dunson Anita and Richard Dye William and Lisa Eckstein Susan H. and Arthur E. Eisman Donald J. Fleishaker Beverly Frank Rhoda and Avram Freedberg in honor of Alan and Peggy Kalter Judge Robert James Friedman Jack and Joan Frishman Donna and Ed Fuhrman Muriel D. Gantz Drs. Henry and Michele Gasiorowski Judith Waksberg and Philip Genty Annette and Len Gilman Alexandra and Ted S. Gladstone Audrey Goldenberg for AIE Marcia GoldďŹ nger James and Anne Golub in memory of Thomas Scheuer Helen and Bill Gore Patricia Grabel Ruth Grant Laura Green and Steven Christianson Judy Gruenberger Patricia and Donald Hammalian Elizabeth Haron Joan and Thomas Herzfeld Myra Hiemstra Stanley and Miriam Hirsch Steve and Peggy Holton Sylvia and Tony Ianniello

72

Jackie and Sol Israel Barbara Jackson Jackie and Bud Freedman Nancy Jasper Doris S. Judell Eric Kahn Frank and Laura Kaiman Rita Kaplan Pat and Jeff Karp Richard Kaye and Susan Strickler Brian Kelly Martin and Ruth Kest Beverly Kezsbom Ruth Kirschner Phyllis Klass Phoebe Klein Dr. and Mrs. Robert M. Klein Robert and Lucy Krasnor Catherine Lace Elizabeth Landauer Linda Lang Mr. and Mrs. Jerome D. Lebowitz Elizabeth and Alan Legatt Myra Lehman and Alan Kuller Elaine Lerner Harriet Levine Lenore E. Levine Constance and Joseph Lewin Gerald F. Lewis Gloria and William V. Lewit, M.D. Jaclyn Libowitz Marian and Fred Lichtstein Richard and Barbara Lieberman Eleanor and Eugene Litwak Albert and Doris Lowenfels

Mrs. Marilyn Manin Jackie and Jim Mann Dr. Jonathan Mardirossian Eileen Mason Norma Massen Kathryn Natale and Janet McLeod Sally and Jay Meltzer Leah L. Mendelsohn Richard and Luci Menin Joan and Robert Meyer Vivian and Norman Milefsky Bob and Laura Mogil Eda L. Newhouse Karen and Eric Nodiff Richard and Brigitte Obetz Dorothy and John O'Connor Harold and Ruth Ossher Dorothy and David O'Sullivan Elinor Parsont and Herbert Ruben Dr. Joan Paternoster Heather and Elliott Perla Joseph Personeni Harry and Marjorie Phillips Virginia and Jonathan Powers Lynne Prior Jeanne Quinn Maria Razza Denise Rempe Charles and Fay Rice Susan and Francis Riordan Cynthia and William Roberts Betty and Dan Roberts Darnell Robinson Mr. and Mrs. Irwin I. Rofman Alexander Romanov Annelise and Jack Rosenfeld Connie and Art Rosner

Marcia Wallace and Martin Rubenstein Brian and Ginny Ruder Rosemarie Ruggiero Lou Saiz Jr. Alberta T. Salkin The Salkin Family Barbara and Robert Sandler Mrs. Faith F. Saunders Lynnette and Richard Scherzer Risa M. Schifter and Edward A. Kirtman Silvia Schnur Debbie and Bill Schrag Myra Schubin Rosalind Schulman Rhona Merkur and Paul Schupak Seth Segall and Susan Mirialakis Suzanne and Howard Seitz Warren and Thelma Serenbetz Madeline and George Shepherd III Robert Shippee and Gayle Beyer Frederick and Carolyn Shulman Stanley Sokol Martin and Grace Soloway Gloria and Gene Sosin Ms. Katharine St. Vincent

Frank and Maralyn Steeg Beverly Spitzer and Howard I. Stein Ruth Stein Eleanor and Abe Stenberg Carol Stix Helen M. Temple Marcia Teschner Mr. and Mrs. Thomas Townsend Inge Treser Sean T. Turner Mr. and Mrs. H.G. Twitchell Irma and Henri Van Dam Jennifer and Ralph Watts M. C. Woodward Diana and Louis Worby Benjamin Zelermyer and Dianne Selditch Gifts made July 1, 2012, through February 6, 2014 Gifts In Kind Aquario Arcadia Floral Co. Doral Arrowwood Greenwich Magazine Hoff-Barthelson Music School Hyatt SummerďŹ eld Suites Serendipity Magazine The Wag Westchester Magazine

Endowment Named Funds in Perpetuity PepsiCo, Inc. Hannah and Walter Shmerler

Endowment Contributors The Bee Steinhaus Memorial Arts-In-Education Fund The Performing Arts Center also wishes to thank the companies listed below for supporting cultural institutions through employee matching gift programs. We encourage you to inquire whether your company has such a program, and maximize your support of The Center.

BlackRock ExxonMobil IBM Kraft Foods MasterCard PepsiCo PďŹ zer Reader's Digest

73

The Performing Arts Center Useful Information

• The use of recording equipment and the taking of photographs in the theatres is strictly forbidden.

• As a courtesy to all patrons and performers, please turn off electronic devices during the performance … and kindly unwrap hard candies or lozenges before the performance begins.

• Latecomers will be seated at the discretion of management. Patrons who leave a performance while it is in progress may be not readmitted until there is a break.

• Smoking is not permitted in any area inside The Performing Arts Center.

• Red EXIT signs are located above the exits from the theatres. Please take a moment to locate the exit nearest your seat location and use this to leave the building in an emergency.

Important Phone Numbers …

Ticket Office 914-251-6200 Hours: Tuesday through Friday, noon to 6pm (and until intermission on performance nights); weekend hours vary by performance.

Lost & Found House Management: 914-251-6209 Reception Desk, for general information and to reach any staff member: 914-251-6222 Theatre Rentals Kimberly Cook, Booking Manager: 914-251-6196 Group Sales Tania Mather: 914-251-6200 Any group of 15 or more can book great seats for our series events at discounted prices.

Play a Part …

Here are some of the ways that you can get involved behind the scenes:

Internships For information about opportunities, call Coni Guhl at 914-251-6186.

Like us on Facebook Follow us on Twitter Watch us on YouTube 76

Email us at center@purchase.edu Visit us at www.artscenter.org

Interior program design: Ronny Quevedo

Join The Prompters Our loyal volunteers, The Prompters, provide invaluable support including ushering, operating the gift shop, assisting in the office and leading behind-the-scenes tours.

Call The Prompters at 914-251-6272.

Donors to the Purchase College Foundation $1000+ (Fiscal Year 2012/13) Contributors provide the financial support that enables the College to enhance the creative and scholarly efforts of faculty and students, to develop special projects linking the College and the community, and to enrich the cultural, intellectual, and artistic life of the region.

Abigail Kirsch Anonymous Kathleen Artese Dina J. Artzt ‘82 Mr. & Mrs. Carl Aus n Backyard Sports Inc. Froma & Andrew Benerofe Ronni R. Bolger Frank J. Borsa ‘84 & Jeffrey Wallace’86 Carole & Daniel Burack Fay V. Burger Caramoor Center for Music Carole & Alvin Schragis Founda on The Carroll & Milton Petrie Founda on Mr. & Mrs. Donald Cecil Center for Educa onal Innova on, Inc. Mr. & Mrs. William T. Clark Sandra Clyman Merrill & Jonathan Merrill Mr. & Mrs. Jeffrey M. Clyman Greg Coady Sunny & Dana Comfort Compass Group Elaine Wingate Conway & E. Virgil Conway Dennis Craig Dr. Lawrence Cutler & Dr. Eileen Cutler Ann Demar n Dr. Barbara Dixon & Mr.

Timothy Caldwell Doral Arrowwood Dr. E. Lawrence Deckinger Family Founda on Nancy Durr Cashie & Thomas Egan Reed Elfenbein ‘76 Mr. & Mrs. Robert Feder Mr. & Mrs. Peter Fishbein Friars Na onal Associa on Founda on Inc. Dr. Howard S. Garson & Ms. Be jane S. Garson Helen & Bill Gates Dr. Ellen Gendal & Mr. David Gendal Nancy Gladstone Mr. & Mrs. Seth Glickenhaus Jack B. Gordon ‘73 The Gordon Parks Founda on Pamela Thomas-Graham & Lawrence O s Graham Emily & Eugene Grant Terry Grant Barbara Hauptman Jane & Warren Heilbron Phyllis Hyacinthe Marjorie S. Isaac Marjorie Ives ‘97 & Ward Ives Mrs. Richard Jacobs The Joe Williams Every Day Founda on

Joseph & Sophia Abeles Founda on Shawn Judge Marcella Kahn Dr. Lisa Keller Doris Kempner Key Bank Na onal Associa on Fran & Bill Klingenstein Pat & John Klingenstein Cary A. Koplin Mary Kresky Irwin P. Labadorf Deborah Slaner Larkin & John Larkin Mr. & Mrs. Richard Laster Juanita & Joseph* Leff The Lents Founda on Michael W. Levine Mr. & Mrs. James Magruder Dr. Ronen Marmur ‘90 Mr. & Mrs. Leonard Marx, Jr. Elizabeth McCormack Sandra & Edward Meyer Deanne Molinari Morgan Stanley & Co. Inc. Judith J. Nolan O’Connor Davies, LLP Old Oaks Founda on, Inc. Paula & William Oppenheim Ernest Palmieri Pernod Ricard USA

Donors to The Purchase College Foundation (cont’d) Dian & Carl Petrillo The Presser Founda on Purchase College Associa on, Inc. Jeffrey Putman ‘96 John A. Rapaport Diana & Charles Revson Betsy & Elihu Robertson Mimi Rosenwald ‘83 & James Rosenwald Debra Roth ‘76 Gay Sachs Lawrence Sachs Anthony J. Salva Scenic Art Studios, Inc. Ann & Thomas* Scheuer Paul Schreiber

Mr. & Mrs. Harvey Schulweis Thomas J. Schwarz Walter & Hannah Shmerler Skadden, Arps, Slate, Meagher & Flom LLP Smart Family Founda on, Inc. Dr. & Mrs. Robert Soley Stephanie Spiegel Ms. Helen Stambler Neuberger & Dr. James Neuberger Mr. & Mrs. Arthur Stampleman Jeannine Starr Lynn Straus

Sheila Sweet ‘07 & Richard Sweet David Swope Dr. Joel Tenenbaum Dr. & Mrs. Robert Timberger Sean Turner The V & L Marx Founda on Mr. & Mrs. James Veneruso Robert F. Weinberg Lucille Werlinich Thomas White ‘02 Mr. & Mrs. Robert Wiener Fred Wilson ‘76 Mr. & Mrs. Ralph Wyman

THE ARTS MATTER “The arts and the humanities are the expression of a society…of a civilization.

They enhance the intellect and nourish the spirit.”

Eugene M. Grant, President Eugene M. Grant & Co.

The arts matter because they benefit everyone. www.artswestchester.org

Neu at 40! join us in celebrating our 40th anniversary season at these special events Saturday, September 21 cocktail reception with Ambassador Ido Aharoni, Consul General of Israel in NY (Invitation only) Sunday, October 20 yaseen lecture series Ethan Bronner, 2001 Pulitzer Prize Award Winner

Saturday, November 2 gala benefit Celebrating 40 Years Friday, May 2 opening reception Neuberger Prize Exhibition 2014

Neuberger Museum of Art 914–251–6100 Stay in the loop! Visit www.neuberger.org

Purchase College state university of new york

Milton Avery, Sun Over Southern Lake, 1951, oil on canvas, 32¾ x 44¾ in., Collection of Neuberger Museum of Art of Purchase College, suny, Gift of Roy R. Neuberger

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