The future of Jazz
Q&A with Fred Hersch
A Duo Recital: Gabe and Timo
official magazine of carolina performing arts spring 2016 ▪ volume III ▪ carolinaperformingarts.org
Gymnopédies
By Compagnie Marie Chouinard
A CRAFTED DINING
EXPERIENCE
Carolina Inn (Crossroads at Carolina)
Full
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Director’s note
Emil Kang
a message from
Emil Kang D
Executive Director for the Arts Executive and Artistic Director, Carolina Performing Arts Professor of the Practice, Department of Music
ear Friends,
We begin the new year with a Carolina Performing Arts c0-commissioned work by Quebecoise choreographer Marie Chouinard, GYMNOPÉDIES. Contributing to the global body of new artistic work has been a cornerstone of our mission since we began in 2005 and GYMNOPÉDIES marks our 41st commissioned work in 11 years. This performance also marks the second commissioning collaboration with and third appearance by Compagnie Marie Chouinard, who we last saw during our celebration of The Rite of Spring at 100. That year alone we commissioned 12 new works. Each of these projects illustrates our continued dedication to supporting artists not just in performance, but in their creative process and to bringing important and challenging new works to Chapel Hill. Commissioning new work always represents a leap of faith, a commitment to support an artist’s intention and creativity. Yet we believe a university is exactly the place to invest in new ideas, innovative artistic practice, and new collaborations. Throughout the spring, we will encounter artists embarking on just these sorts of explorations. Choreographer Trajal Harrell investigates how dance can help us to better understand histories that do not get told. Oscar-nominated writer Lucy Alibar will share her newest work on her exploration of a southern landscape of people, animals, and even the weather.
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Like so many artists we present, Harrell and Alibar both provide an opportunity to learn how the creative process introduces new ideas and how art-making itself is a method of research and discovery. And lest we forget, research and discovery is precisely what we ask of our students during their time here. All Carolina graduates succeed when they realize their potential to unleash new approaches in problem-solving, tackling social dilemmas, and celebrating our humanity. This is the other reason we believe in artists like Marie Chouinard, Trajal Harrell, and Lucy Alibar. All of these performances — and the many residency activities surrounding their visits — provide our students with opportunities to engage in meaningful ways with today’s most distinctive creative voices. Of course, all of us benefit from this engagement. There are always new ideas to be had and new ways to think about our work and our lives. I look forward to seeing you in Memorial Hall for another semester of exploration and discovery.
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Contents 8 COMPAGNIE MARIE CHOUINARD Emil J. Kang, Executive and Artistic Director ADMINISTRATION Mike Johnson, Associate Director Barbara Call, Business Manager Mary Dahlsten Cooper, Associate Business Manager Annette Strom, Operations Coordinator Nic Caceres, IT Coordinator Helen Hickey, Executive and Programming Assistant ARTS@THECORE Jane F. Thrailkill, Mellon Distinguished Scholar Aaron Shackelford, Mellon Postdoctoral Fellow Kate Ferriola-Bruckenstein, Engagement Coordinator DEVELOPMENT Susin Seow, Director of Development Rachel Ash, Director of Annual Giving Jennifer Cox, Donor Relations Coordinator MARKETING AND COMMUNICATIONS Mark Z. Nelson, Director of Marketing and Communications Darah Whyte, Marketing and Communications Manager Renu Gharpure, Marketing and Communications Coordinator Ryan Griffin, Ticket Services Manager VENUE OPERATIONS Butch Garris, Director of Production Aaron Yontz, Production Manager Brad Munda, Production Manager Angela Brickley, Assistant Production Manager David Hahn, Assistant Production Manager Mark Steffen, Events Manager Sarah Mixter, Audience Services Manager PROGRAMMING AND ARTISTIC SERVICES Amy Russell, Director of Programming Megan Whitaker, Artistic Services Manager Chris Pendergrass, Artistic Coordinator MEMORIAL HALL STUDENT STAFF Carolina Performing Arts is grateful for the more than 100 students who work on our Ticket Services, Administrative, House and Tech staffs. It is their hard work and dedication that make every performance at Memorial Hall a success.
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10 MELISSA ALDANA, SAXOPHONE WITH PABLO MENARES AND ALLAN MEDNARD 12 JASON MORAN & THE BANDWAGON 1 4 THROW ME ON THE BURNPILE AND LIGHT ME UP LUCY ALIBAR 1 6 THE COUNT BASIE ORCHESTRA WITH DIANE SCHUUR AND NEW YORK VOICES 1 8 ALVIN AILEY AMERICAN DANCE THEATER 20 THE KNIGHTS WITH GIL SHAHAM, VIOLIN 2 2 S WIMMING IN DARK WATERS: OTHER VOICES OF THE AMERICAN EXPERIENCE FEATURING RHIANNON GIDDENS, BHI BHIMAN, AND LEYLA MCCALLA 24 FRED HERSCH, PIANO AND JULIAN LAGE, GUITAR 3 D IRECTOR’S NOTE 26 F EATURE: THE FUTURE OF JAZZ 30 Q &A WITH FRED HERSCH 32 F EATURE: A DUO RECITAL 36 P ROFILE: LUCY ALIBAR 40 A CKLAND REFRAMED 41 D ONOR BENEFITS 42 D ONOR LIST 49 D INING GUIDE 50 D ONOR SPOTLIGHT 51 FACULTY SPOTLIGHT 52 S EASON SCHEDULE 54 STUDENT SPOTLIGHT 56 B EYOND THE WALLS 58 T HE LAST WORD
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PUBLISHED BY CAROLINA PERFORMING ARTS SPRING 2016 â–Ş VOLUME III CAROLINAPERFORMINGARTS.ORG EDITOR Mark Z. Nelson MANAGING EDITOR Darah Whyte CONTRIBUTORS Rachel Ash Renu Gharpure Heidi Kim Lewis Margolis Elizabeth M. Melton Allison Portnow William Robin Aaron Shackelford Chris Vitiello DESIGN Shannon Media, Inc.
ADVERTISERS MAKE THIS BOOK POSSIBLE This program book would not be possible without the advertisers that support it. Their patronage makes this information available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well. For advertising information, contact Rory Kelly Gillis at 919.933.1551 or rory@chapelhillmagazine.com.
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HENRI MICHEAUX : MOUVEMENTS / CHOREOGRAPHY AND PHOTO: MARIE CHOUINARD / DANCER: CAROL PRIEUR
Saturday Jan uary
Compagnie Marie Chouinard PROGRAM GYMNOPÉDIES (2013) Intermission
16 CONNECTIONS GYMNOPÉDIES is co-commissioned by Carolina Performing Arts.
HENRI MICHAUX : MOUVEMENTS (2011) Please note: This performance contains nudity and adult situations. About the PRO GRAM Plumbing the depths of our collective psyche, Compagnie Marie Chouinard offers a potent expression of the human condition in these two beloved works. Inspired by French composer Erik Satie’s three atmospheric pieces for piano, Marie Chouinard’s overtly sensual GYMNOPÉDIES is an absurdist fantasy evoking the Dada and Surrealist movements with which Satie was intimately associated. The piano plays a starring role, with dancers previously untrained in music playing Satie’s Gymnopédies as couples negotiate their intense relationships in spirited theatrical vignettes. Mouvements, a book by Belgian poet, writer and painter Henri Michaux, features 64 pages of India-ink drawings, a 15-page poem and an afterword, all of which Marie Chouinard took pleasure in reading literally, left to right and page by page, as a choreographic score. She decrypted the drawings and set dance to these “movements of multiple inkjets, a celebration of blots, arms moving up and down the scales,” echoing the black drawings on white pages with performers dressed in black on a white floor. Projections of the book’s contents enable spectators to undertake their own simultaneous personal reading.
Marie chouinard In 1978, Montreal choreographer Marie Chouinard presented her first dance work, Cristallisation, establishing her reputation as a highly original artist driven by the need for authentic communication. Thirty solos performed on the international stage followed, including Marie Chien Noir (1982), S.T.A.B. (Space, Time and Beyond) (1986) and Afternoon of a Faun (1987), landmarks in contemporary dance of the past 30 years. In 1990, she founded Compagnie Marie Chouinard. Also an author, set and lighting designer, photographer and filmmaker, her opus includes multimedia pieces, films, the Serge Fiori music video Jamais, a collection of poems (Chantier des extases), a book chronicling two decades of choreography (COMPAGNIE_MARIE_CHOUINARD_COMPANY), a photo installation (Paradisi Gloria) and her Drawings exhibit, among other things. In 2015, she designed the free Apple app Cantique. In 2011, she created Les Prix de la Danse de Montréal, the best-endowed international dance prize. Her dance technique is taught by her or her dancers in workshops and master classes. A true cultural ambassador for Quebec, Marie Chouinard is the recipient of several awards for her contribution to the arts, including the Order of Canada (2007) and the Ordre des Arts et des Lettres (France, 2009).
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Friday Jan uary
Melissa Aldana, saxophone
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with Pablo Menares and Allan Mednard M e l i s sa Al dana Melissa Aldana began playing saxophone at the age of six. She watched pupils come to her home in Santiago, Chile to take lessons from her father, renowned saxophonist Marcos Aldana, and pestered him to teach her, too. Her adolescence was filled with learning solos of jazz greats such as Charlie Parker, Cannonball Adderley and Michael Brecker. Influenced by Sonny Rollins, she switched from alto to tenor sax.
Melissa aldana tenor sax Pablo Menares bass Allan Mednard drums
By her early teens, she was frequenting the Santiago jazz clubs, and by the age of 16, she was headlining sets at the Club de Jazz de Santiago, the hub of the Chilean jazz community at the time. Pianist Danilo Pérez invited her to play at the Panama Jazz Festival and was instrumental in bringing her to the U.S., arranging auditions for her at Berklee College of Music and the New England Conservatory. Accepted at both schools, she chose Berklee, studying under Joe Lovano, George Garzone, Frank Tiberi, Greg Osby, Hal Crook, Dave Santoro, Bill Pierce, Dino Govoni and Ralph Peterson and citing Mark Turner and Don Byas as lasting influences. Moving to New York, she was mentored by legendary saxophonist George Coleman and recorded her first album, Free Fall, for Greg Osby’s label Inner Circle Music. Second Cycle followed in 2012. Her big break came when Osby invited her to play a weeklong residency at the Village Vanguard. Since then, she has performed in such prestigious venues as Dizzy’s Club Coca-Cola, Blue Note, Jazz Standard, Museum of Modern Art, Small’s and Jazz Gallery and at festivals including Monterey Jazz Festival, Umbria Jazz in Italy, Barcelona Jazz Festival in Spain and Providencia Jazz Festival in Chile, sharing the stage with some of the greatest contemporary jazz artists of our time. Over the last two years, she has performed with Chilean bassist Pablo Menares and Cuban drummer Francisco Mela as the Crash Trio. In 2013, at age 24, Melissa won the Thelonious Monk International Jazz Saxophone Competition. She also won the National Arts Award “Altazor” in Chile for Best Album and received the Lincoln Center Martin E. Segal Award. In 2014, Melissa and the Crash Trio released their self-titled debut album for Concord. Melissa’s upcoming album will be released on Word of Mouth Music in March 2016.
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PHOTO BY CLAY PATRICK MCBRIDE
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Friday F e b ruary
Jason Moran & the Bandwagon ja s o n M o r a n Since his formidable emergence on the music scene in the late ’90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole. In almost every category that matters — improvisation, composition, group concept, repertoire, technique and experimentation — Moran and his group the Bandwagon have challenged the status quo and earned a reputation as “the future of jazz.”
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jason moran piano Tarus mateen bass nasheet waits drums
Influenced by the wider world of art as his muse, Moran has found inspiration in edgy 20thcentury painters like Jean-Michel Basquiat (check out “JAMO Meets SAMO” from Soundtrack to Human Motion, as well as his series of “Gangsterism” compositions); Egon Schiele (whose painting Facing Left provided the eponymous title to Moran’s second album); and Robert Rauschenberg, whose chaotic refinement inspired Moran’s third album Black Stars, featuring the legendary Sam Rivers. His ongoing visionary collaborations in the art world have brought him additional fans and respect. Moran’s music is in the collections of both the MOMA and Whitney Museum of American Art. He scored a ballet for Alonzo King’s LINES Ballet, as well as scoring video works for contemporary American artists Glenn Ligon and Kara Walker. He has worked with pivotal visual/performance artists Joan Jonas and Adrian Piper. A collaboration with Grammynominated neo-soul artist Meshell Ndegeocello — a dance party centered on the music of Fats Waller — premiered in 2011, with an album release on Blue Note in 2014: All Rise: An Elegy for Fats Waller. Music education plays a central role in Moran’s life. He is on the piano faculty at Manhattan School of Music and has been lecturer/instructor at Yale University, Dartmouth University, Eastman School of Music and New York’s Museum of Modern Art, among others.
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PHOTO BY JAN VERSWEYVELD
JASON CHARME PHOTOGRAPHY
Thursday & Friday F e b ruary
18/19
Throw Me on the Burnpile and Light Me Up Lucy Alibar
CONNECTIONS About the PRO GRAM Academy Award-nominated storyteller Lucy Alibar reads from her latest work in progress—a tale of a man, his family and his burnpile. A lecherous goat, Pentecostal Southern Baptists on the radio, a house full of dogs, cats and Febreze and Daddy’s . 38 special are just some of the elements in this magical brew of stories about a singular childhood in Grady County. Embracing the compelling and often confusing connections between people, animals, the weather and everything in between, Throw Me on the Burnpile and Light Me Up is a landscape you won’t soon forget.
This performance is part of Carolina Performing Arts’ Arts@TheCore Curatorial Fellowship program. See page 36 to learn more.
lucy alibar Growing up in a rural environment on the Florida panhandle near Georgia, Lucy Alibar won a playwriting competition at the age of 14 and attended Young Playwrights Inc. in Manhattan, becoming instant friends with Benh Zeitlin. Following playwriting studies at New York University, she wrote Juicy and Delicious, a one-act play influenced by her father’s illness. At Zeitlin’s prompting, they adapted it to film with support from Sundance, resulting in the remarkable Beasts of the Southern Wild. Along with ecstatic reviews and recommendations by none other than President Obama and Oprah Winfrey, the movie received the Sundance Grand Jury Prize and the Cannes Film Festival Caméra d’Or, with Alibar nominated for the Scripter, BAFTA and Academy Award. Lucy Alibar adapted her play Christmas and Jubilee Behold the Meteor Shower into a movie for Escape Artists and wrote The Secret Garden for Guillermo del Toro/Universal. Her writing has been published in Zoetrope, Oxford American and The Wall Street Journal. The recipient of numerous awards, she has been a Sundance Screenwriting Fellow, a two-time finalist for the Heideman Award at ATL and a finalist for the O’Neill Playwrights Conference. She is a member of the Obie Award-winning Youngblood (Ensemble Studio Theatre), co-founder of the New Georges Writer/Director Lab and an associate editor at Oxford American. Throw Me on the Burnpile and Light Me Up will be published by Scribner Books.
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Saturday F e b ruary
The Count Basie Orchestra with Diane Schuur and New York Voices
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The count basie orchestra In the history of jazz, there is only one bandleader with the distinction of having his orchestra still performing sold-out concerts all over the world, with members personally chosen by him, for nearly 30 years after his passing. Pianist/bandleader Count Basie remains an American institution personifying the grandeur and excellence of jazz. The 18-member Count Basie Orchestra has won 18 Grammy Awards and every respected jazz poll in the world, performed for kings and queens, appeared in movies, TV shows and at every major jazz festival and concert hall in the world. Some of the greatest soloists, composers, arrangers, and vocalists in jazz history, including Lester Young, Billie Holiday, Frank Foster, Thad Jones, Sonny Payne, Freddie Green, Snooky Young, Frank Wess, and Joe Williams, became international stars once they began working with the orchestra. Directed by Scotty Barnhart, the Count Basie Orchestra continues Basie’s history of stomping and shouting the blues and refining those musical particulars that enable the deepest and most moving of swing.
diane schuur, vo cals One of contemporary jazz’s leading vocalists, Diane Schuur is as eclectic as she is brilliant. With a distinguished Grammy-winning recording career spanning three decades, she explores almost every corner of the 20th-century musical landscape. Notable collaborations include Barry Manilow, B.B. King, Ray Charles, and Jose Feliciano, among others, resulting in numerous #1 Billboard recordings. Schuur has appeared on many television specials, has performed at The White House on multiple occasions, and performed for Stevie Wonder at the Kennedy Center Honors.
n e w yo r k v o i c e s Known for their close-knit voicings, inspired arrangements, and unparalleled vocal blend, New York Voices’ chameleon-like musicianship enables them to move seamlessly from setting to setting. Rooted in jazz, Brazilian, R&B, classical, and pop music, they mix traditional sensibilities with more than a dash of the unexpected. They have appeared with Bobby McFerrin, George Benson, Jon Hendricks, Annie Ross, The Manhattan Transfer, the Boston Pops, the Metropole Orchestra, Ivan Lins, Paquito D’Rivera, and many others. Like the great jazz vocal groups that came before them — Lambert, Hendricks and Ross, Singers Unlimited and The Manhattan Transfer — they are dedicated to passing on this musical legacy for generations to come.
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ALVIN AILEY AMERICAN DANCE THEATER’S RACHEL MCLAREN. PHOTO BY ANDREW ECCLES
Tuesday & Wednesday F e b ruary
23/24
Alvin Ailey American Dance Theater F e b r ua ry 2 3
F e b r ua ry 2 4
PROGRAM
PRO GRAM
Exodus (2015) by Rennie Harris
Open Door (2015) by Ronald K. Brown
INTERMISSION
PAUSE
Awakening (2015) by Robert Battle
Love Songs (1971) by Alvin Ailey
INTERMISSION
INTERMISSION
Cry (1971) by Alvin Ailey
Vespers (1986) by Ulysses Dove
PAUSE
PAUSE
Revelations (1960) by Alvin Ailey
The Hunt (2001) by Robert Battle INTERMISSION
Revelations (1960) by Alvin Ailey
Major funding for Alvin Ailey American Dance Theater is provided by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, Bank of America, BET Networks, Bloomberg Philanthropies, BNY Mellon, Diageo, Doris Duke Charitable Foundation, FedEx, Ford Foundation, Howard Gilman Foundation, The Hearst Foundations, The Prudential Foundation, The Shubert Foundation, Southern Company, Target, The Wallace Foundation, and Wells Fargo.
a lv i n a i l e y a m e r i c a n d a n c e t h e a t e r Alvin Ailey American Dance Theater grew from a now-fabled New York City performance in 1958 and has gone on to perform for millions of people across the globe. In 2008, a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world” that celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage. Today, the Company upholds Mr. Ailey’s mission to deliver dance back to the people by presenting important works of the past — including his most popular and critically acclaimed work, Revelations — and commissioning new ones. Before his untimely death in 1989, Mr. Ailey named Judith Jamison as his successor, and, over the next 21 years, she brought the Company to unprecedented success. Ms. Jamison personally selected Robert Battle to succeed her in 2011, and The New York Times declared he “has injected the company with new life.”
Programming subject to change.
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CHRIS WALT PHOTO BY SARAH SMALL
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The Knights with Gil Shaham, violin and Eric Jacobsen, conductor PROGRAM
REBEL Les Caractères de la Danse PROKOFIEV Violin Concerto No. 2 in G minor, Op. 63
INTERMISSION
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55, “Eroica”
Thursday F e b ruary
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PERFORMANCE BENEFACTOR Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity.
CONNECTIONS the knights
Gil Shaham is a 2015-16 Carolina Performing Arts Artist-in-Residence. This marks his third appearance this season.
Dedicated to transforming the concert experience, this young and innovative New York-based chamber orchestra defies boundaries with programs that showcase a passion for artistic discovery. Surprising audiences with new approaches to music-making and new exponents of the art form, their roster boasts composers, arrangers, singer-songwriters, and improvisers with influences ranging from jazz and klezmer to pop and indie rock music. Serious about having fun, they strive to inhabit new music in familiar ways and play old music as if it were written yesterday. Violinist Colin Jacobsen and cellist Eric Jacobsen, also founding members of the string quartet Brooklyn Rider, serve as artistic directors of The Knights, with Eric Jacobsen as conductor. Collaborators include cellist Yo-Yo Ma, violinists Gil Shaham and Itzhak Perlman, soprano Dawn Upshaw, banjo virtuoso Béla Fleck, the Mark Morris Dance Group, jazz saxophonist Joshua Redman, and pipa virtuoso Wu Man. Recordings include 2015’s the ground beneath our feet, featuring the ensemble’s first original group composition; an all-Beethoven disc; A Second of Silence; and Violin Concertos of the 1930s, Vol. 2 with Gil Shaham.
gil shaham, violin One of the foremost violinists of our time, Grammy Award-winning Gil Shaham’s flawless technique, inimitable warmth, and generosity of spirit have solidified his renown as an American master. Sought after throughout the world for concert appearances with leading orchestras and conductors, he gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Gil Shaham has more than two dozen acclaimed CDs to his name. Recent recordings, issued on his own Canary Classics label, include Violin Concertos of the 1930s, Vols. 1 & 2; J.S. Bach: Sonatas & Partitas for Violin; Nigunim: Hebrew Melodies; Haydn Violin Concertos and Mendelssohn’s Octet with the Sejong Soloists; Sarasate: Virtuoso Violin Works; Elgar’s Violin Concerto with the Chicago Symphony; and Bach’s complete works for solo violin. A tireless advocate for new music, he has premiered works by William Bolcom, David Bruce, Avner Dorman, Julian Milone, and Bright Sheng. The recipient of an Avery Fisher Career Grant and the coveted Avery Fisher Prize, Gil Shaham was named Instrumentalist of the Year by Musical America, citing the “special kind of humanism” with which his performances are imbued. He plays the 1699 “Countess Polignac” Stradivarius.
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FRANK STEWART
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Swimming in Dark Waters: Other Voices of the American Experience
Sunday F e b ruary
Featuring Rhiannon Giddens,
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Bhi Bhiman and Leyla McCalla About the PRO GRAM In celebration of Black History Month, this concert delves into the profound, yet often overlooked, history of protest, subversion, and cultural resistance by musicians of color in the United States, from the original inhabitants to recently arrived immigrants.
CONNECTIONS This performance is presented in collaboration with UNC’s The Sonja Haynes Stone Center for Black Culture and History and The Center for the Study of the American South.
Rhiannon Giddens, vo cals Greensboro, N.C. native Rhiannon Giddens is an American original — an artist with an unforgettable voice who culls the music of our collective past to point the way to the future. Best known as a member of the Grammy-winning Carolina Chocolate Drops, reviving, interpreting, and recasting traditional material from varied sources has been central to her career. An extraordinary star-is-born moment occurred at the 2013 T Bone Burnett-curated Another Day, Another Time concert at New York City’s Town Hall. Performing Odetta’s “Water Boy,” she brought the celebrity-studded audience to its feet, resulting in a stunning collaboration with Burnett: the album Tomorrow is My Turn, which deftly incorporates folk, jazz, gospel, and the blues. Giddens’ buzz-generating Town Hall performance was preserved in a Nonesuch recording and a Showtime documentary.
b h i b h i m a n , v o ca l s / g u i ta r Singer/songwriter Bhi Bhiman has drawn a diverse range of comparisons, from Rodriguez and Woody Guthrie to Nina Simone and Bill Withers. He credits his upbringing — the son of Sri Lankan immigrants, growing up in suburban St. Louis — as an important role in his songwriting. An accomplished guitarist and clever lyricist, his unique voice sets him apart. His debut album, BHIMAN, was released to critical acclaim, followed by a performance on the BBC’s Later…with Jools Holland and a North American tour with Soundgarden frontman Chris Cornell. Other highlights include his appearance at Carnegie Hall in tribute to Prince, which Rolling Stone called the most memorable performance of the night. Bhi has co-written with Stax Records staple William Bell and The Coup’s Boots Riley, among others. His latest LP is Rhythm & Reason, produced by Sam Kassirer (Lake Street Dive, Josh Ritter).
Leyl a McCall a, vo cals/cello Leyla McCalla’s music reflects her eclectic life experiences. Born in New York City to Haitian immigrant parents, she relocated to Accra, Ghana for two years. Following studies in cello performance and chamber music at New York University, she moved to New Orleans to play cello on the streets of the French Quarter. There she caught the attention of Music Maker Relief Foundation director Tim Duffy, who introduced her to the Carolina Chocolate Drops. She appeared on the band’s Grammy-nominated album Leaving Eden and toured extensively with them. Her debut album Vari-Colored Songs: A Tribute to Langston Hughes (2014) features compositions she wrote to Langston Hughes poetry, Haitian folk songs, and original pieces. The album features Rhiannon Giddens and Hubby Jenkins of the Carolina Chocolate Drops, Don Vappie on tenor banjo and Luke Winslow King on guitar.
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Friday marc h
Fred Hersch, piano and Julian Lage, guitar
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About the PRO GRAM The relentlessly probing pianist/composer Fred Hersch opens undiscovered doors while exploring the jazz tradition to its fullest, appearing on more than 100 recordings. Grammy-nominated guitar prodigy and composer/arranger Julian Lage distills guitar traditions from pre-bop swing to bluegrass. This duo takes co-improvisation to new heights.
fred hersch, piano As a solo pianist, composer, bandleader, and theatrical conceptualist, Fred Hersch is “singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz — a jazz for the 21st century” (The New York Times). With three dozen recordings as leader/co-leader, awards include a 2003 Guggenheim Memorial Fellowship and being named Jazz Pianist of the Year 2011 by the Jazz Journalists Association. He is the first artist in the history of New York’s legendary Village Vanguard to play weeklong engagements as a solo pianist. With eight Grammy nominations, he is among the most admired of contemporary jazz musicians, collaborating with an astonishing range of instrumentalists and vocalists throughout jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell), classical (Renée Fleming, Dawn Upshaw, Christopher O’Riley) and Broadway (Audra McDonald). Dubbed by Vanity Fair as “the most arrestingly innovative pianist in jazz over the last decade,” he has influenced a new generation of pianists. The leader of a celebrated trio whose Floating received two 2014 Grammy nominations, he placed as the #3 jazz pianist in the 2015 Downbeat Critics Poll. In 2011, Hersch mounted the ambitious production My Coma Dreams — a critically-acclaimed fullevening multimedia work available on DVD. His newest release, Fred Hersch SOLO, has received rave reviews: All About Jazz says, “When it comes to the art of solo piano in jazz, there are currently two classes of performers: Fred Hersch and everybody else.”
J u l i a n l ag e , G u i ta r At age 27, Julian Lage already boasts a résumé that an artist twice his age would be proud to claim. A guitar child prodigy (the subject of the documentary Jules at Eight), he has collaborated with such giants as Gary Burton, Jim Hall, David Grisman, Béla Fleck, and Charles Lloyd. He has released three albums as a leader, including the solo outing World’s Fair and duos with Wilco guitarist Nels Cline and Punch Brothers guitarist Chris Eldridge. With his new trio featuring bassist Scott Colley and drummer Kenny Wollesen, Lage is positioned to help move the music forward. He describes the trio’s forthcoming album, Arclight, as a “collection of originals and pre-bebop-era songs.” Setting anchor in New York has afforded him the freedom to pursue his music in multiple directions simultaneously. “There’s a camaraderie here and it takes the pressure off of you,” he says. “People here are open-minded, very forward-thinking. So even if you say, ‘Hey, I’m a jazz guitar player, but I like to play country music too,’ they say, ‘Cool, go for it!’ I’ve always felt privileged to be able to do this.”
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What is the Chris Vitiello
Q
uestions about the future of jazz don’t yield a clear, singular answer. If you ask 10 aficionados, you’ll get 10 different answers. Among jazz listeners, initiates and novices alike will plot a different array of musicians, genres, trends, and scenes. But when you overlay the scatterplot answers of several listeners, you start to see something that looks more like a portrait than a Jackson Pollock. Trends and directions emerge from the noise. Musicians are opening jazz up — to diverse rhythms and sounds, different musical and artistic genres, new regional scenes, and to women. Chilean saxophonist Melissa Aldana is a perfect example of who you’ll see in jazz’s crystal ball. She brings her hot blend of Afro-Latin grooves and Chilean street music to Memorial Hall on January 22 with bassist Pablo Menares and drummer Allan Mednard. In 2013, Aldana was the first female musician to take first prize in the prestigious Thelonious Monk International Jazz Saxophone Competition. “She won’t be the last,” says Tom Orange, who spins discs as the jazz director at Cleveland’s 89.3 WCSB when he’s not playing sax, booking touring bands, and teaching in the English department at Cleveland State University. “Jazz has always been a boy’s club and still is,” Orange says. “Typically, if you were a woman jazz musician, you were a singer or a pianist. But now more women are involved and doing live performances and recordings and getting their stuff out there.”
Chilean saxophonist Melissa Aldana
Off the top of his head, he counts off a quartet of female musicians on par with Aldana: Ingrid Laubrock, a German-born sax player based in New York; Mette Rasmussen, a Danish alto player working
“Act so that there is no use in a centre.” — Gertrude Stein 26
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future of jazz? >>>
in Norway; Susan Alcorn, an American pedal steel guitarist; and saxophonist Hailey Niswanger, based in Portland. Orange tabs New York-based independent record label Relative Pitch Records as one devoted to releasing music by and involving women more than most other labels. The question of the future of jazz reminds Orange of another group of musicians that worked together to determine a specific answer to jazz’s future in the 1960s. Experimentalists such as Anthony Braxton, Wadada Leo Smith, and Henry Threadgill founded the Association for the Advancement of Creative Musicians (AACM) to safeguard an avant-garde tradition through the rise of rock music. The organization still exists, but it’s opened up into multidisciplinary performance, as well as music. Saxophonist Matana Roberts represents the cutting edge of the AACM with her self-described “panoramic sound quilting” composition techniques. Her epic COIN COIN project, of which three of an eventual 12 discs have been released, draws upon a wide range of sources and inspirations to express the AfricanAmerican experience, from the slave trade to the present. “It’s solo work with her sax and speaking and singing voice and then found text and spoken word from other sources,” Orange describes. “Really almost like a noise collage that at the same time is exploring African-American history and identity.” While Roberts’ music might remain on the commercial fringe, she works with commercially successful jazz musicians like pianist and composer Vijay Iyer, whose “RADHE RADHE: Rites of Holi” commission was part of Carolina Performing Arts’ “The Rite of Spring at 100” season in 2013. Iyer produced Roberts’ 2008 album The Chicago Project. To Steve Taxman, who’s been broadcasting jazz on Durham-based 90.7 WNCU for 12 years, Iyer is a rising star whose intercontinental weave of jazz with Indian musical traditions is attracting new listeners. “Vijay Iyer on piano and Rudresh Mahanthappa on alto sax,” he
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Jason Moran (center) and his group The Bandwagon
notes. “They’re bringing in a lot of sounds from India into their music and combining that with a modern conception of jazz to come up with something completely unique and very complex and absolutely fascinating. “The fact that they’re both doing very well — in fact Vijay Iyer is one of the best-selling piano players in jazz — means we’ll be seeing more of that because people are receptive to it.” Taxman crafts two weekly broadcasts on WNCU — “Jazz Focus,” a Saturday morning show of mainstream jazz and “The Loft,” a Thursday night set ranging from classic bebop through hard bop into the avant garde. At first, Taxman’s playlist for “The Loft”
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concentrated on jazz legends like Eric Dolphy, Ornette Coleman, Archie Shepp, Sun Ra, and the later John Coltrane, but the balance has shifted toward contemporary musicians.
CONNECTIONS Jazz at memorial Hall
“I’m finding over time that the show has become more modern and evolved to focus on today’s artists more,” Taxman says. “I think that’s important because these guys are trying to make a living, and we need to support them so that, when they do come to town and play rooms like Memorial Hall, people come out to see them. Jason Moran is a perfect example of that.” Moran, a pianist who brings his band The Bandwagon to Memorial Hall on February 5, plays very listenable music that’s nonetheless connected to outrider traditions. He knocked Taxman out with a 2004 set at the Parisian nightclub New Morning. “One of the most innovative things I ever heard was on a tune called ‘Straight Out of Istanbul,’” Taxman remembers, “where he took a Turkish phone call and converted the words into music and then played along on top of it. So he used the rhythm of the Turkish language and then added melody to it, and it was absolutely hypnotic. He understands the tradition, but he knows how to make it his own.” Something of a new-release junkie, Taxman listens to everything and thinks, “Is this jazz? Can I play this on The Loft?”
JAN 22 Melissa Aldana, saxophone with Pablo Menares and Allan Mednard FEB 5 Jason Moran & The Bandwagon FEB 20 The Count Basie Orchestra with Diane Schuur and New York Voices MAR 4 Fred Hersch, piano and Julian Lage, guitar
“A big trend that I hear right now is changing time in jazz — complex time signatures, complex rhythms, and rhythms from other cultures and other societies,” he says. “A lot of musicians are bored with a 4/4 time signature and want to try something more.” “An extreme example of that is a wonderful alto saxophonist named Steve Lehman, who has these crazy time signatures that are so complex that it’s hard to count them out, but they’re all playing it on a dime; they always know where they are. It’s exciting to see the ride they take you on.” Complex international mash-ups, complex unconventional time signatures, complex sound collages with field recordings — notice a theme?
Walls of Color The Murals of Hans Hofmann 22 January - 10 april 2016
ackland.org This exhibition was organized by the Bruce Museum, Greenwich, CT, with the support of the Renate, Hans and Maria Hofmann Trust. Walls of Color is presented at the Ackland with support from the Renate, Hans and Maria Hofmann Trust, John and Marree Townsend, the Fenwick Foundation, and gifts made in honor of the Ackland Docent Program.
Hans Hofmann (1880-1966), Mosaic Mural, 711 Third Avenue, New York (detail), 1956. Photograph by
28 Paul Mutino. Works by Hans Hofmann used with permission of the Renate, Hans and Maria Hofmann Trust.
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Orange sees a renaissance in ornate, dense, complex music, pointing to the success of the improvisation-focused What You Will Festival founded on a farm outside Columbus, Ohio in 2011. To him, the festival is part of an emergence of regional scenes of likeminded jazz musicians hailing from smaller cities strewn throughout the Midwest — places like Buffalo, Erie, Detroit, and Cleveland. “There’s something in the water for cities of our size,” Orange says, quoting Gertrude Stein’s famous line about there being no use in a center. “We have really active scenes and really talented players, many of whom are regional out of necessity. They have day jobs or work factory shifts, so they don’t have the means to take time off and tour. But there’s a kinship in that regionalism, and it’s not just limited to the Rust Belt.” The rise of smaller, distinctive, regional scenes has a lot to do with jazz musicians taking responsibility for more than just keeping their chops up. Musicians are starting modest festivals to appeal to jazz traditionalists as well as new listeners, like Durham’s Art of Cool Fest. In the face of music education cuts, they’re opening their own jazz schools like the Music Settlement in Cleveland, which hosts classes for underprivileged youth during the day before becoming a club at night. You have to hit all of those notes now to guarantee the future of jazz. Which brings Taxman back to Aldana, who won the Monk Competition at age 25. “I was excited when I saw that a young woman had won the Monk Competition for a change, and that she was Chilean to boot,” he says. “The first recording I put on, I heard her influences right away. I heard a lot of Sonny Rollins, and then after listening for a while I heard some Mark Turner in there too. She absolutely has her own thing going on, but she’s still young, and I think that’s going to develop over time.” Aldana isn’t playing over phone conversations or blowing 11/4 time or embarking upon a multi-disc gesamtkunstwerk. She deploys a sophisticated harmonic sensibility through lightly articulated, clean lines. She plays it straight, but damn, she plays it so well. “You talk about where it’s going,” Taxman says. “It’s not all just funky rhythms and avant-garde craziness. I think there will continue to be great mainstream, straight-ahead players as well, and they’ll be playing at a very high level.” “It’s not just about it getting weird. Mainstream jazz is flourishing right now too.” Chris Vitiello is a freelance writer based in Durham.
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“ Compose Assemble” TO
Q&A
IS TO
A CONVERSATION WITH JAZZ COMPOSER AND PIANIST
Fred Hersch
Aaron Shackelford For over three decades, Fred Hersch has been writing and performing jazz music. As a pianist, he has won acclaim for his solo performances as well as for work with duos and trios. His colleague Jason Moran once compared Hersch at the piano to LeBron James on the basketball court, in no small part because of his constant innovation and exploration. A composer of over 80 recorded jazz compositions, Hersch has also worked with vocalists including Kurt Elling, Dawn Upshaw, and Audra McDonald.
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You are known for collaborations with a wide range of musicians and vocalists. How do you build these new collaborations? The duo format is a huge part of my musical world. Every May, I do a duo series of jazz standards in New York. I’m always looking around for people I haven’t played with, I’d like to play with, people who would be interesting or unexpected. It’s always the same: I tell them, “I want to play some of your music if you like,” and if they want they can learn some of my music. But I
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would like to play at least half things that neither one of us needs to even look at, so we can just listen and see what happens. There’s no telling. Some people I’ve invited and I’ve said, “Great, I’ve done that.” Other times I’ve said, “Hey, this is interesting, let’s go further.” You don’t really know until you do it. And of those collaborations, the one with Julian Lage on guitar and the one with Anat Cohen on clarinet seem to have gone further. Just based on having a really great night and great chemistry and saying, “Hey, do you want to do this again?” and making opportunities for it, and of course, Julian and I made an album.
As somebody who thinks deeply about the possibilities of the piano as a jazz instrument, what does the collaboration of piano and guitar bring to jazz music? Julian Lage and Bill Frissell are the only guitarists I’ve played with. I play with dozens of horn players and singers and other duo configurations. But piano and guitar is a very rare combination, because it’s so difficult. Both of us can play chords in the same register. There’s a lot of possibility for harmonic conflict. It can get competitive. The piano takes on a different sound depending on what you put next to it. You put a piano and a bass together, you have a very different sound than a piano and vocals or a piano and a clarinet. Piano and guitar can be very interesting from a rhythmic perspective when it’s right. It really has to be right, though, and the only people I’ve been able to make it work with have been Bill and Julian.
How would you describe playing with Julian Lage, then? Julian has always been super easy to play with. For a young musician, he has a very mature grasp of jazz language. Sometimes, at our best, it’s not like one person is soloing and another person is soloing. It’s us making something together. That’s really what duo playing is about. It’s not so much about “I’m playing this solo here, you’re playing this solo there”; it’s about the way we accompany each other.
What are some of the ways you approach composition of new music? With any piece of music, there’s a different solution. To compose is to assemble. It depends on what elements you’re using. It’s like cooking. It’s different processes, whether you braise it or steam it or broil it or sauté it; it just depends on what food you’re cooking and what you’re after and what the context is. One thing I try to always do is integrate improvisation into the fabric of the song.
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CONNECTIONS On March 4, Hersch will perform at Memorial Hall with guitarist Julian Lage. In 2014, the two recorded the jazz duo album Free Flying, for which Hersch received his sixth Grammy nomination.
What is your composition process for a jazz tune? I use a kitchen timer and try to write in 45 minutes or less. That’s generally how I write them, if they don’t just happen to pop up somehow. It compels you to write something instead of sitting around thinking about it. You have a self-imposed deadline, and I find that interesting. It’s closer to the improvisation process. You grab something and work with it and think, “Isn’t that great?” or you throw it out, and you only spent 45 minutes on it. Also, I only use pencils. No software.
Is there anything else we should have in mind for your visit to Chapel Hill? I’m not sure yet what we’ll play, but I’m really looking forward to it. I have some good friends down in the area, and it should be a fun time. Aaron Shackelford is the Mellon Postdoctoral Fellow at Carolina Performing Arts.
A
five years of Friendship in the making
Duo
Recital GABRIEL KAHANE & TIMO ANDRES
“T
his is like from ‘When Harry Met Sally,’” Gabriel Kahane says. Sitting beside his fellow composer Timo Andres at a table in a corner park in Brooklyn on a beautiful fall afternoon, Kahane recalls the origins of their friendship. “And he was going to rehearse the Ligeti Horn Trio, and I was going to rehearse…” Kahane trails off, jokily impersonating an elderly man reminiscing about a high school sweetheart. When they first met back in 2010, Kahane and Andres were both budding composers in their 20s but already carrying impressive musical credentials. Kahane had released his first record of songs, for which he sang and played piano, banjo, and guitar and was joined by the likes of Chris Thile and Sufjan Stevens. Having completed graduate school in composition at Yale University and recently moved to New York, Andres was gigging as a pianist and had already recorded an acclaimed album of his compositions for the label Nonesuch. Kahane sought to commission a group of composers for an upcoming performance and stumbled across Andres’s music online. They met in a now-defunct café in the quiet, leafy neighborhood of Ditmas Park in Brooklyn and hit it off. The culmination of that five-year friendship can be heard in Chapel Hill in April, when Andres and Kahane will perform an intimate recital at Memorial Hall. Both composers will play piano, and Kahane will sing, highlighting musical favorites as well as premiering new works that they have written for each other. Since 2010, each composer has also grown to occupy a prominent position in the world of contemporary music. Kahane has crafted elaborate theatrical spectacles that double as pop albums, such as The Ambassador, a meditation on Los Angeles that premiered at
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PHOTO BY JOSH GOLEMAN
William Robin
Memorial Hall last season. Andres has written works for esteemed performers such as the Takács Quartet, collaborated with Philip Glass, and performed as a pianist with the North Carolina Symphony. But even as they cross numerous artistic boundaries, Andres and Kahane also exhibit a deep reverence for the musical canon. Their recital will place in dialogue Bach and Britten, Charles Ives and Jerome Kern, Thomas Adès and Andrew Norman. “I do like to do the thing of throwing the old and new all together and making a sort of salad program,” Andres says. “To me, those things are constantly shining light on each other in interesting ways; it helps you to hear them differently.” The pair cite the freely associative realm of the mixtape as a model, but their century-spanning program also represents a vital grasping for context in our heterogeneous present. “We feel ourselves sitting on this pile of music history a lot, maybe more than some of our contemporaries,” Andres adds. “There’s an eagerness to reconcile that, or acknowledge it in some way, or incorporate it.” For Kahane, the recital’s transition from Schubert’s G-flat impromptu to his own song “Where Are the Arms” heightens and frames the melancholy of each work. “I find it can be really overwhelming, faced with the multiplicity of voices and streams and traditions, to just put something out into the world in the absence of context,” he says.
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PHOTO BY MICHAEL WILSON
A D u o R e c i ta l
That engagement with tradition harkens back to their first, informal experiences making music together — Andres mentions a tipsy evening in which Kahane accompanied Schubert’s lieder on the banjo. In 2011, Kahane and Andres mounted their first attempt at a duo concert that would incorporate their own music, that of their contemporaries, and selections from the canon. It took a disastrous turn. “We were both sick, it was a terrible concert, and no one came,” Kahane says. “It was a qualified fiasco,” Andres replies. “There was something good in there.” They continued to hone the concept over several years; this spring’s coming performances, which will arrive at Carnegie Hall two days before they reach Chapel Hill, represent the result of a deepened musical friendship. “It’s one of my favorite ways of making music, which is just by hanging out,” Andres says. “You just hang out for a while and figure out what you like.” Each composer will perform a work written for him by the other. Andres was recently preoccupied with finding the right poem for Kahane, and their collaborative relationship strengthened his approach; he felt confident in “the ability to read a text and be like, ‘Can I imagine Gabe saying this or singing this?’ It’s very easy for me to say, ‘This’ll work, this won’t work.’” Towards the end of a wide-ranging conversation — which addressed, among other topics, how to properly box up leftover
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food and the unhealthy cultural fixation on youth today — the sun begins to set and the composers turn towards discussing what they admire in each other’s work. Kahane and Andres might represent ideal artistic partners: They have a shared sense of priorities, but radically different personalities. Introspective and detached, Andres creates music that is emotive in its intricacy; Kahane’s work, though often couched in explorations of history, wears its heart on its sleeve. “Timo’s an aesthete in a lot of ways,” notes Kahane. “I am tormented in a way that Timo is not,” he adds with a laugh, and then recalls a particularly spellbinding rendition of the Schubert impromptu that Andres gave several years ago. “I could see the extent to which it was a totally external experience for you, that was based around the beauty of the sound that you were making,” Kahane says. “Your head was cocked such that you were just listening to make sure that you were making the most beautiful sound possible.” Andres then reflects on Kahane’s music: “Even when your songs are about something very abstract like aesthetics, it’s all about your personal reaction to it — or at least that’s what we feel when you’re singing it.” For those curious for a further glimpse into this longstanding musical friendship, Memorial Hall awaits on April 9. William Robin is a PhD candidate in musicology at UNC.
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Behind the scenes
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A Southern Writer on
Fire lucy alibar’s new play brings her home again Heidi Kim
F
ans of Lucy Alibar’s Oscar-nominated screenplay for Beasts of the Southern Wild will rejoice to see her new one-woman show at Carolina Performing Arts. Alibar’s breakout film told the story of a six-year-old dynamo named Hushpuppy,
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whose relationship with her dying father plays out against the dying-and-renewing landscape of Terrebonne Parish during Hurricane Katrina. At once a folktale, a magical realist narrative, and an elegy for communities under threat of climate change, Beasts, adapted from Alibar’s play Juicy and Delicious, vaulted both Alibar and the young lead of the film, Quvenzhané Wallis, into the spotlight at festivals and award shows around the world. Drawing powerfully upon the rural childhood that influenced the creation of Hushpuppy, Alibar returns with a show that muses on the vitality and zaniness of her memories of family
Alibar is Faulkner’s child, building upon her local identity to create narratives with which audiences worldwide connect for reasons that are personal, political or both. life in the Florida panhandle. Through all her migrations around Brooklyn, Cannes, and Hollywood, these are still the memories that reach out and inspire her. As the Carolina Performing Arts Curatorial Fellow for the 15/16 season, I searched for performances that would not only connect with different aspects of my teaching and research, but also that I thought would resonate with the Carolina campus and community. Throw Me On the Burnpile and Light Me Up caught my attention because Alibar has continued to refine her unique voice: a child’s point of view that is alternately naïve and eerily wise. Instead of flood, this
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time we have fire, but once again we have a tense and loving relationship between the narrator and her Daddy. Alibar’s inspiration is her own life, especially the father who told her she stole a lot of his lines for her film. I also see traces of Southern literary forebears such as Harper Lee, (what better model for a precocious female narrator than Scout of To Kill a Mockingbird?), Eudora Welty, Erskine Caldwell, and William Faulkner in the cadences of her characters’ speech, her black comedy, and the imbrication of daily life with the Baptist tradition — not to mention the occasional controversy of her depictions. I was intrigued by how the reception of Beasts of the Southern Wild focused simultaneously on its timeless, mythic quality and its depiction of Hurricane Katrina’s effects and evacuations. A large part of my research investigates how the many American authors who came of age in the 1930s embraced but struggled with the need during the Cold War to create an American literature that appealed to supposedly universalist values, but often did so through intensely regional, specific narratives. In this, too, Alibar is Faulkner’s child, building upon her local identity to create narratives with which audiences worldwide connect for reasons that are personal, political, or both. Alibar continues to work on screenplays, solo shows, plays, and even a novel. Despite Beasts’ fame, her chief medium thus far has been theater (Gorgeous Raptors, Mommy Says I’m Pretty on the Insides), and we are privileged to get to see one of these works on this campus. Long may she light her audience up.
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Heidi Kim is assistant professor of English and Comparative Literature at UNC and the 2015-16 Carolina Performing Arts Curatorial Fellow.
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For more information about Arts@TheCore, or to bring a class to a performance, contact us: Aaron Shackelford, Mellon Postdoctoral Fellow: ashackel@unc.edu; Jane F. Thrailkill, Mellon Distinguished Scholar: tkill@unc.edu; carolinaperformingarts.org/artsthecore/
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Ackland Reframed from our friends at the
Ackland Art Museum
B
Francis Bacon, British (born Ireland), 19091992, Study for Portrait VI, 1953. Oil on canvas, 59-5/8 x 45-3/4 in. (151.45 x 116.21 cm) (canvas), Minneapolis Institute of Art, The Miscellaneous Works of Art Purchase Fund, 58.35.
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© THE ESTATE OF FRANCIS BACON. ALL RIGHTS RESERVED. / DACS, LONDON / ARS, NY 2014, PHOTO: MINNEAPOLIS INSTITUTE OF ART.
eethoven’s Third Symphony (1805) is known as the Eroica, a shortening of the final title given to this complex and beautiful work. The Sinfonia eroica, composta per festeggiare il sovvenire di un grand’uomo (Heroic Symphony, composed to celebrate the Memory of a Great Man) was dedicated to Beethoven’s patron, Prince Franz Joseph von Lobkowitz. However, as many know, Beethoven intended to dedicate the symphony to Napoleon Bonaparte. The work’s original title page reveals that Beethoven crossed out his first title — “Bonaparte” — and re-inscribed the page with the “Eroica” title when, much to the idealistic composer’s dismay, Napoleon declared himself Emperor in 1804.
In spite of the change, the symphony is still often interpreted by musicologists and listeners as both dedicated to and reflective of the revolutionary spirit of Napoleon, restoring some of the intended dedicatee’s presence in this musical “portrait.” However, there have also been numerous uses of the symphony that play on the anonymity of the “Great Man” title. In particular, the symphony’s Funeral March has been repurposed to mourn many political figures, ranging from Hitler to JFK. These uses, like Beethoven’s own retitling, exploit the blurriness of the musical portrait. At the Ackland, we have a similarly blurred portrait on loan to us this winter. Francis Bacon’s Study for Portrait VI (1953)
CONNECTIONS Hear Beethoven’s Symphony No. 3 in E-flat Major performed by The Knights on February 25, 2016 at Memorial Hall.
is literally blurry — the artist appears to have run his fingers through the wet paint of the subject’s face — but the treatment highlights something deeper. The portrait is one of eight paintings of the artist’s friend and biographer David Sylvester. With each subsequent painting in the series, the subject progressively morphs into the image of Pope Innocent X. In Study for Portrait VI, Bacon simultaneously depicts the two subjects in a single blurred painting and alludes to the spectrum of representation seen in the larger series. Blurred portraits, such as those by Beethoven and Bacon, offer listeners and viewers the possibility to practice holding more than one viewpoint in mind simultaneously. This is a skill that is important to use inside museums and concert halls full of complex artworks, and one that becomes even more important when you depart for the night into our vast and complicated world. Guest of Honor: Francis Bacon’s “Study for Portrait VI” is on view at the Ackland Art Museum through April 10, 2016. This exhibition has been made possible by the Ackland National Advisory Board. Allison Portnow is the Public Programs Manager at the Ackland Art Museum and has a PhD in Musicology from UNC.
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Donor Benefits for
Friends of Carolina Performing Arts The David Lowry Swain Society ($10,000+) Offers valet parking and concierge ticket service with access to reserved seats for supporters who contribute $10,000+ annually. Performance sponsorships begin at $15,000.
Platinum ($5,000-$9,999)
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All benefits listed below, plus Gold, Silver, Bronze, Patron, and Friend benefits
All benefits listed below, plus Patron and Friend benefits
▪ Name a seat in Memorial Hall ▪ Exclusive events with performing artists ▪ Access to Pamela Heavner Gallery for private events ▪ Access to Gerrard Hall for private events
▪ Backstage tour of Memorial Hall ▪ Invitations to open rehearsals
Non deductible amount of contribution: $490
All benefits listed below, plus Friend benefits
Gold ($2,500-$4,999) All benefits listed below, plus Silver, Bronze, Patron, and Friend benefits ▪ Parking in Bynum-Steele lots on Cameron Avenue, close to Memorial Hall ▪ Intermission reception in Pamela Heavner Gallery Non deductible amount of contribution: $490 PHOTO BY JILLIAN CLARK
WHATEVER GIFT YOU WISH TO MAKE, WE CAN HELP. Contact the CPA Development Office at 919.843.1869 for additional information.
Silver ($1,000-$2,499) All benefits listed below, plus Bronze, Patron, and Friend benefits ▪ Purchase season subscriptions and single tickets the day the season is announced ▪ Parking at Morehead Planetarium ▪ Invitation to season preview Non deductible amount of contribution: $90
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Patron ($125 to $499) ▪ Priority purchasing period for season subscriptions and single tickets ▪ Invitations to post-performance receptions ▪ Printed recognition in program books ▪ Print subscription to Behind the Curtain newsletter Contribution fully deductible
Friend ($75-$124)* ▪ Website recognition ▪ Electronic subsciption to Behind the Curtain newsletter ▪ Invitation to the annual fall arts luncheon Contribution fully deductible *Enrolled UNC–Chapel Hill students may join at a discounted rate of $35 Benefits are valid for a full year beginning with the date of the gift.
INTERNATIONAL ADVISORY BOARD COMPRISED OF UNC-CHAPEL HILL ALUMNI AND FRIENDS, THE INTERNATIONAL ADVISORY BOARD CHAMPIONS AND SUPPORTS THE VISION OF CAROLINA TO BECOME THE NATION’S LEADING UNIVERSITY ARTS PRESENTER. IT IS WITH PROFOUND GRATITUDE THAT WE THANK THESE OUTSTANDING VOLUNTEERS.
Patricia Morton, Chair, Charlotte Wyndham Robertson, Co-Vice Chair, Chapel Hill Michael Shindler, Co-Vice Chair, Orlando Fred Beaujeu-Dufour, Clinton Lisa Church, New York City G. Munroe Cobey, Chapel Hill Catherine Coley, London Chancellor Carol Folt, ex-officio, Chapel Hill Joan Gillings, Chapel Hill Emil Kang, ex-officio, Chapel Hill
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Betty P. Kenan, Chapel Hill Mary Friday Leadbetter, Singapore Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill James Moeser, Chair Emeritus, Chapel Hill Paula Davis Noell, Chapel Hill Josie Ward Patton, Chapel Hill Earl N. Phillips, Jr., Chapel Hill Sharon Rothwell, Ann Arbor Michael Tiemann, Chapel Hill
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Donor list CAROLINA PERFORMING ARTS ENDOWMENT
D
o you want to make a lasting impact? The Carolina Performing Arts Endowment provides critical funding each season, helping us bridge the difference between our ticket revenue and the expense of bringing worldclass performers to Chapel Hill. Ticket sales alone provide only 40 percent of the total cost of presenting artists on our stages. Our endowment makes what we do possible. Help ensure high-quality programming, discounted student tickets, and commissions for new works through a donation or a planned gift today. Future audiences will thank you. Leadership Gifts & Pledges ($500,000+) Munroe and Becky Cobey* Cheray Duchin* Ellison Family Foundation Mr. and Mrs. James Heavner* Luther Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust William and Sara McCoy Anonymous Major Gifts & Pledges ($25,000+) Shirley J. Berger† Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Maribel Carrion* Elizabeth Willis Crockett Blanche Hamlet John W. Hughes III Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Amanda Kyser Georgia Carroll Kyser† Kimberly Kyser Drs. Michael and Christine Lee Anne and Mike Liptzin Bobby and Kathryn Long Mr. and Mrs. Robert F. Murchison Florence and James Peacock Paul and Sidna† Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott Garry and Sharon Snook
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Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley† F. Weiss* Dr. Jesse L. White, Jr. Anonymous *Deferred gift † Deceased Endowed Funds ($25,000+) The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists. The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music. The John and Jean McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students. The James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers. The Dr. Jesse L. White, Jr. Fund for Student and Academic Engagement supporting activities that connect classical music and jazz artists and performances to students. The Mark and Stacey Yusko Performing Arts Fund supporting Carolina students’ arts experiences.
2015/16
SWAIN SOCIETY Contributions received October 1, 2014–November 15, 2015 Season Benefactors ($100,000+) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation Performance Benefactors ($15,000+) Munroe and Becky Cobey The Charles Goren and Hazen Family Foundation, Tom and Lisa Hazen, Trustees Jane Roughton Kearns Ted and Lisa Kerner Patricia and Thruston Morton Paula Davis Noell and Palmer Page Wyndham Robertson Anonymous
Benefactors ($10,000 - $14,999) Lisa Church Buck and Kay Goldstein Mr. and Mrs. James Heavner The Highland Vineyard Foundation William D. and Dr. Sally C. Johnson Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Jeanette and Stanley Kimmel Amanda Kyser Kimberly Kyser Anne and Mike Liptzin William and Sara McCoy John A. McLendon Rick and Carol McNeel James and Florence Peacock Van and Kay Witherspoon
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FRIENDS OF CAROLINA PERFORMING ARTS Contributions received October 1, 2014–November 15, 2015 Platinum Tier ($5,000 - $9,999) Castillo-Alvarez Fund of Triangle Community Foundation Dr. Fred Dalldorf and Jane Bultman Dalldorf Edward De Simone and Kim Parke Cheray Duchin The Eason Foundation Anne Faircloth and Fred Dufour Eleanor and James Ferguson Barbara Hulka Paul and Jan Krause Mary and Jon Leadbetter Josie Ward Patton Phil and Kim Phillips Deborah and Ed Roach Coleman and Carol Ross Sharon and Doug Rothwell Michael and Andrea Shindler Adrian R. Tiemann The Japan Foundation Dr. Jesse L. White, Jr. Anonymous (2) Gold Tier ($2,500 - $4,999) James and Delight Allen Ewa and Josef Blass Betsy and Fred Bowman Cliff and Linda Butler Catherine Coley Hans and Barbara DaSilva-Tillmann Shirley Drechsel and Wayne Vaughn Frank H. Dworsky The Educational Foundation, Inc. Sandy Turbeville and Glen H. Elder, Jr. Mimi and James Fountain Peter Gilligan and Lynn Smiley
Joan Heckler Gillings Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman John and Martha Hsu Dr. Joan C. Huntley Lisa and Emil Kang Dr. Marcia Anne Koomen Drs. Michael and Christine Lee Dayna and Peter Lucas D.G. and Harriet Martin James and Susan Moeser Paul D. and Linda A. Naylor New England Foundation for the Arts Karl I. and A-B Nordling Francine and Benson Pilloff Stanley Robboy and Marion Meyer-Robboy The Robinson Family David and Adele Spitz-Roth Mary and Ernie Schoenfeld Barbara Siegel Alan C. Stephenson and Shannon Kennedy Michael and Amy Tiemann Sally Vilas and Harry Gooder Diane Vannais and Charles Waldren Charles M. Weiss Silver Tier ($1,000 - $2,499) Jo and Peter Baer Blanche and Zack Bacon in honor of Wyndham Robertson Michael Barefoot and Tim Manale The Barry Charitable Foundation Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh Blum Family Fund of Triangle Community Foundation Jack and Jennifer Boger Robert Brown James and Elizabeth Bryan Timothy Bukowski and Naomi Kagetsu Ed and Eleanor Burke Leigh Fleming Callahan Carlson Family Foundation Consulate General of Israel William and Barbara Dahl
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Jan and Jim Dean M’Liss and Anson Dorrance Jo Anne and Shelley Earp Pat and Jack Evans Raymond and Molly Farrow Gail Fearing Jaroslav and Linda Folda Diane Frazier Douglas and Judy Frey Paul Fulton Dr. Rebecca Goz Robert and Dana Greenwood Leesie and Bill† Guthridge David and Lina Heartinger Richard Hendel Susan Henning and Vikram Rao Charles House David Howell Deborah Hylton and Leland Webb Joseph and Shipley Jenkins John and Joy Kasson Alice and Sid Levinson Judith Lilley Alice and John May Robert and Mary Ellen McMillan Kathy Merritt and Erik Paulson Mr. and Ms. William I. Morton Barry Nakell and Edith Gugger Oakwood Foundation The Panter Foundation Anne and Billy Pizer David and Carmen Plucinsky Dr. Steve and Rochelle Prystowsky Jolanta and Olgierd Pucilowski Elizabeth Raft Mr. and Mrs. Joseph Ritok Rebecca and Rick Rosenberg Michael and Susan Rota Lies Sapp Susin Seow and Chris Weathington Patricia Shaw John and Talia Sherer Paul and Leslie Strohm Steve and Denise Vanderwoude Alan H. Weinhouse ‘77 R. Mark and Donna Stroup Wightman Tin-Lup and Sandy Wong Anonymous (3)
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Bronze Tier ($500 - $999) Pete and Hannah Andrews Kathryn Bell Sue Bielawski Lewis Black Mary and Neilson Brown Michael and June Clendenin Robert and Mary Ann Eubanks Ruth and Art Gerber Peggy and Cam Glenn David and Lallie M. Godschalk Robert and Laura Gutman Clark and Karen Havighurst Charles Hochman and Phyllis Pomerantz James and Elizabeth Hooten Marija Ivanovic Moyra and Brian Kileff Lynn Knauff Stephen J. and Karen S. Lyons Lilian Pruett Barbara Rimer and Bernard Glassman Dr. Michael and Sandra Roberts Margaret Rook
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Mark and Donna Simon Dr. and Mrs. Paul Singer Dr. Scott V. Smith Earl Snipes John and Carol Stamm Mr. and Mrs. John L. Townsend III John and Peggy Williams John and Ashley Wilson Monette Wood John and Joan Wrede Anna Wu and George Truskey Betty York and Bruce Michelsen Patrons ($125 - $499) Brigitte Abrams and Francis Lethem Nancy Appleby and James Brenner Rachel Ash Richard A. and Lynda B. Baddour Antonio Balson Linda J. Barnard Allen and Judith Barton John W. Becton and Nancy B. Tannenbaum Catherine Bergel
Karl Berry Jim and Martha Bick Natalie and Gary Boorman Thomas and Betty Bouldin Donald Boulton Edwin Bower Rebecca Bramlett Janet Mason and Joan Brannon Joan and Tony Brannon Craig and Catherine Briner Lois Bronstein and Howard Glicksman Ken and Margie Broun Betsy Bullen Thomas W. and Gail W. Bunn Matthew and Molly Calabria Dr. James E. Godwin and Dr. E.A. Campbell Lydia Wegman and Bob Cantwell Philip and Linda Carl Ruth Truitt and Douglas Chaney Sandra L. Clemons Haywood D. Cochrane, Jr. William and Sara Colaianni Donald and Eunice Collins Jay and Barbara Cooper
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Gehan and Dileeni Corea Woodrow Cossey Rick and Patty Courtright Hurt and Diane Covington Richard and Connie Cox Jeffrey and Sandra Davis Jack and Tina Deason Pamela Diliberto Steven Dubois and Kathy Barker Stephanie and Richard Duncan Connie Eble Gerald and Adelia Evans Simona Farcas and Daniel Lebold Nancy Farmer and Everette James Rabbi Frank and Pat Fischer Linda Frankel and Lewis Margolis Marcia and Jim Friedman Brian Fullington Greg and Emily Gangi Mia and Nomar Garciaparra Robert Gfeller III Mike and Bonnie Gilliom Arnold Gordon Charles and Karen Goss
Virginia Gray Mary and Al Guckes Nortin and Carol Hadler Dorothy Hall Barbara and Paul Hardin Andrew Hatchell and Junjie Jia Jon and Deanne Hays Paula and Charlie Head Timothy Hefner Gerardo and Jo Heiss David and Leslie Henson Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Dr. Beth Holmgren and Mark Sidell Elizabeth M. Holsten ‘50 Andrew and Charlotte Holton Mitchell and Deborah Horwitz David and Sally Hubby Elizabeth Crawford Isley Konrad and Hannelore Jarausch David and Marti Jenkins in honor of Quinn Jenkins Tonu Kalam Hugon and Joanna Karwowski
Joan and Howard Kastel Kimball and Harriet King Susan Robinson King Gary and Carolyn Koch Carol Land and Barry Slobin Ted and Debbie LaMay Bibb Latané Joycelyn Leigh Irwin and Susan Levy Betty and John Leydon Jim and MaryLou LoFrese Robert Long and Anne Mandeville-Long Richard and Linda Lupton Richard Mann and Karlene Knebel Elaine and Lee Marcus Timothy and Pradhana Mastro Bill and Sue Mattern Ms. Robin McWatters Richard Melanson Adele F. Michal Marcy E. Minton Vivian Morris Lee and Ava Nackman Christopher and Helga Needes
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PHOTO BY LAUREN MCCAY
PHOTO BY TODD ROSENBERG
PHOTO BY LAUREN MCCAY
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John and Dorothy Neter Shu Wen Ng and Marc A. Jeuland Elisabeth and Walter Niedermann Gail R. O’Day and Thomas E. Frank Greg and Carla Overbeck Vickie Owens Michele Pas Bettina Patterson Bob and Marilyn Pinschmidt Edwin and Harriet Poston Arthur Powers Linda Prager and Michael Parker Morita Rapoza Ivan Remnitz Barbara Rhoades Ron and Sara Riggle Carol and Matthew Ripley-Moffitt Diane and Bob Rizzo Maribeth Robb Leonard and Dianne Rosenbluth Alexander L. Ross, Jr. Amy Kolling Russell Frederic and Amanda Sax Julienne Scanlon Jennifer and Bill Selvidge Robert E. Seymour Robert Shipley Jill Shires Jack and Katherine Simmons Gary Slade Charles and Judith Smith Dana L. Smith Geraldine Smith Michael Smith Laurence and Jean Stith Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff James and Sandra Swenberg Cass Swon Jimmy and Ellyn Tanner Richard and Karen Taylor John and Patricia Tector M.E. Van Bourgondien Martha Jane Van Der Drift Susan Wall Michael Weil and Peggy Link-Weil R.H. and Barbara Wendell Marlene and Roger D. Werner
Timothy Williams Dr. Derek and Louise Winstanly Duncan and Susan Yaggy Amanda Ziesemer Anonymous (4) Undergraduate and Graduate Student Members ($35) Quinn Jenkins * Deferred gift † Deceased
CAROLINA PERFORMING ARTS STAFF CONTRIBUTIONS Rachel Ash Butch Garris Mike Johnson Emil Kang Mark Z. Nelson Amy Russell Susin Seow Mark Steffen
CORPORATE PARTNERS Digital Powers, Inc. KPO Photo McDuffie Design Rivers Agency SOUTH, Fine Gifts and Interiors University Florist
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STUDENT TICKET ANGEL FUND Contributions received October 1, 2014–November 15, 2015
PHOTO BY JONATHAN DRAKE
“Brightest Star of All” ($25,000+) Maribel Carrion* David G. Frey “Radiance Shine” ($10,000-$24,999) Munroe and Becky Cobey Florence and James Peacock Anonymous “Priceless Gem” ($5,000 - $9,999) Scott Garcia and Debbie McDermott*
PHOTO BY JONATHAN DRAKE
PHOTO BY JONATHAN DRAKE
PHOTO BY LAUREN MCCAY
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“Tar Heel Voices” (Under $2,000) Alexandra Almeter Katelyn Ander Steven B. and Elizabeth A. Ayers Ethan Basch and Joy Goodwin Pat Beyle Meredith Bryson Aimee Peden Burke Catharine Carter Patt Derian and Hodding Carter III Patrick Cassidy Drs. John F. and Barbara Holland Chapman R. Michael Childs Adrienne and Mo Cox Elizabeth and Benjamin Cozart John, Lou Anne and Calleigh Crumpler Dr. and Mrs. Robert M. Daniel Carolina Home Mortgage Eleanor and James Ferguson Susan Ferguson Miles and Michele Fletcher Linda Frankel and Lewis Margolis Greg and Emily Gangi Wade and Sandra Hargrove Timothy Hefner George R. Hodges and Katherine W. Hodges
Dr. Donald and Debra Jenny Leila Elizabeth Kaji Jim and Betty Kasson Michael Everett Kelly Martha Knieriem and Sandra Dennis Gary and Carolyn Koch Gregg and Leslie Kreizman Bob and Geri Laport An Li Gabriela Magallanes Dr. and Mrs. William W. McLendon Julie Mikus Mr. and Mrs. William I. Morton Erica Mueller Grant Allen Muir Brian and Jessica Murray in honor of Tom Kearns and Jane Roughton Kearns Mark and Leslie Nelson Scott Nelson Nastassja Ortiz Louise A. Robinson David and Linda Seiler Deborah Siler Wiley Smith Harriet and Stu Solomon Danielle Spurlock Nathan Johnson Stephenson Stephen and Judy Thomson Rachael Worthington Tuton M.E. Van Bourgondien Diane Vannais and Charles Waldren Sejal Vora Reyna S. Walters Sheila R. Ward Brendan and Tamara Watson Ron and Beverly Wilson Eliza M. Wolff David and Dee Yoder Anonymous * Deferred gift † Deceased For a complete listing of all donors, please visit carolinaperformingarts.org/impact.
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Dining Guide Dining Guide
dining guide
MAKE A NIGHT OF IT! VISIT ONE OF THESE DOWNTOWN RESTAURANTS BEFORE OR AFTER.
East Franklin Street/Downtown BUNS 107 N. Columbia St.; 919-2404746; bunsofchapelhill.com ROOTS BAKERY, BISTRO & BAR 161 E. Franklin St.; 919-240-7160; rootschapelhill.com SPANKY’S 101 E. Franklin St.; 919-967-2678; spankysrestaurant.com TOP OF THE HILL 100 E. Franklin St.; 919-929-8676; topofthehill.com
West Franklin Street AL’S BURGER SHACK 516 W. Franklin St.; 919-904-7659; alsburgershack.com 411 WEST 411 W. Franklin St.; 919-967-2782; 411west.com BREADMEN’S 324 W. Rosemary St.; 919-967-7110; breadmens.com
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CAROLINA CROSSROADS AT THE CAROLINA INN 211 Pittsboro St.; 919-918-2777; carolinainn.com
ELAINE’S ON FRANKLIN 454 W. Franklin St.; 919-960-2770; elainesonfranklin.com KALAMAKI 431 W. Franklin St.; 919-240-7354; kalamakichapelhill.com KIPOS 431 W. Franklin St.; 919-425-0760; kiposgreektaverna.com
MAMA DIP’S KITCHEN 408 W. Rosemary St.; 919-942-5837; mamadips.com
MEDITERRANEAN DELI 410 W. Franklin St.; 919-967-2666; mediterraneandeli.com SPICY 9 SUSHI BAR & ASIAN RESTAURANT 140 W. Franklin St.; 919-903-9335; spicy9chapelhill.com YOGURT PUMP 106 W. Franklin St.; 919-942-7867; yogurtpump.com
Martin Luther King Jr. Boulevard (Airport Road) KITCHEN 764 MLK Jr. Blvd.; 919-537-8167; kitchenchapelhill.com THE ROOT CELLAR (FORMERLY FOSTER’S MARKET) 750 MLK Jr. Blvd.; 919-967-3663; rootcellarchapelhill.com
N.C. 54 East/Raleigh Road BIN 54 Glen Lennox Shopping Center; 919-969-1155; bin54chapelhill.com
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DONOR SPOTLIGHT
Tom and Lisa Hazen Rachel Ash
I
f you are ever in need of theater recommendations in New York City, Tom and Lisa Hazen are the people to ask. The couple makes at least two annual trips to the Big Apple, where they soak in as many plays, Broadway shows, and other arts events as they can. “Theater allows you the chance to escape and enjoy a whole different world for the evening,” explains Lisa. This winter, they will be transported to 1930s rural Georgia in The Color Purple, Imperial Russia in Fiddler on the Roof, and the technicolor world of Taylor Mac in his new play Hir. It is all part of their marathon schedule, which features 32 performances between Thanksgiving and Christmas. Their immersion in theater began in 2001 when Lisa and their son George joined Tom on a New York work trip. (Tom is the Cary C. Boshamer Distinguished Professor at UNC’s School of Law). They went to see The Lion King, Lisa and George’s first Broadway show. “The next day, George said, ‘What are we going to see tonight?’” recalls Tom. Everyone had such a good time they began researching upcoming shows and plotting future trips. Then, five years ago, the two decided rather than wait for a work engagement they would go at the end of each semester. “Sometimes you go to enjoy a story outside the context of everyday life and what you see in the news,” says Tom. “Other times you go and are challenged by a production that makes you think.”
Tom and Lisa met in Chapel Hill and will celebrate their 20th anniversary next year. They got married at the Carolina Inn on September 6, 1996, the day Hurricane Fran barreled through the state. “When we got to the Inn, the clouds started to clear and the sun came out,” remembers Tom. “It was a good omen.” In addition to a love for the arts, they are both passionate about animals and have rescued many dogs and cats over the years. They also care deeply about educational opportunities for young people and focus much of their philanthropic work on youth programs. Both are on the board of visitors for UNC Children’s Hospital as well as PlayMakers’ Advisory Council and have served on the board of The Medical Foundation of North Carolina. Lisa was previously on the boards of the Dispute Settlement Center and Chapel Hill’s Emerson Waldorf School.
The Hazens are Carolina Performing Arts subscribers, generous donors, and perhaps most importantly, ambassadors for the program. Most evenings you will find them in the front row at Memorial Hall accompanied by family and friends from Burlington. Always For Tom, who grew up in New York City just blocks from Lincoln open to new experiences, they appreciate the diversity of CPA’s artCenter, their trips are a continuation of the rich arts experiences ists as well as the caliber of the programming. “To be able to hear of his childhood. He remembers seeing his first musical, Damn artists like the Chicago Symphony and Gil Shaham here in Chapel Yankees, at age nine and listening to the New York Philharmonic’s Hill is incredible,” says Tom. Trustees of The Charles Goren and Young People’s Concerts with Leonard Bernstein. Tom had his own Hazen Family Foundation, they sponsored last year’s production subscription to the Philadelphia Orchestra and would go by himof Dunsinane and are sponsoring La Verità, a theatrical homage self beginning at age 13. “I would sit all the way up in the nosebleed to Salvador Dalí, this April. They both find their involvement with seats,” he says. Lisa’s introduction to the arts came later in life. CPA rewarding in many ways. “You have a sense of pride and From Burlington, N.C., she describes her childhood in Alamance ownership,” says Tom. “It really adds another level of enjoyment to County as “the cultural opposite of growing up in New York City.” know you’re giving something back to the community, especially to She has more than made up for lost time though, between their students.” Broadway adventures and the many local performances they attend. Rachel Ash is Director of Annual Giving for Carolina Performing Arts.
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Faculty SPOTLIGHT
Nicholas DiEugenio Aaron Shackelford
“M
usic is about communication, sharing, community experience,” reflects Nicholas DiEugenio. As Assistant Professor of Violin, DiEugenio teaches students to approach music as more than a technical skill. “When somebody comes to UNC, what they’re experiencing is a richness of life,” remarks DiEugenio. “If I have a vision for my studio, it’s something in which every person is working to become a more developed version of themselves.” An accomplished musician, DiEugenio studied at the Cleveland Institute of Music and the Yale School of Music. Having performed around the world, he has found an institution at UNC that nurtures his work as an artist and professor at the same time. “Carolina is a place that encourages people to explore the things they’re passionate about,” DiEugenio observes. For students, the importance of exploration and passion is reinforced every time they work with visiting musicians from Carolina Performing Arts. In the fall semester alone they experienced performance and master classes with Gil Shaham as well as violinists from the Chicago Symphony Orchestra and Ensemble intercontemporain. For the students, according to DiEugenio, it is an opportunity to learn that performance is about sharing as much as it is mastering strings and bow. “Students start to understand that it’s not about every note being perfect. Even at the highest level of talent, artists who are revered around the world. It’s about transmitting meaning. They see that with these artists. They experience it.” From his arrival in Chapel Hill, DiEugenio was struck by the opportunities presented by CPA. “The thing that’s so cool is, you can go to a highly renowned conservatory and not be exposed to the number of high-quality guest artists like you
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can at CPA. The students really do have the best of both worlds in the classroom and the stage.” Whether DiEugenio’s students go on to become performing musicians or follow other career paths, he values the opportunities to help students expand their experiences and language, both musical and otherwise. “You can acquire skills if you work hard,” he believes, “but you need vision to succeed in the world.” Aaron Shackelford is the Mellon Postdoctoral Fellow at Carolina Performing Arts.
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Spring 2016 JAN
FEB
S A T 16
C o m pa g n i e M a r i e C h o u i n a r d
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M e l i s s a A l d a n a , saxophone, with Pa b l o M e n a r e s and a l l a n m e d n a r d
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J a s o n M o r a n & T h e B a n d wa g o n
Throw Me on the Burnpile and Light Me Up – L u c y A l i b a r
S A T 20
T h e C o u n t B a s i e O r c h e s t r a with D i a n e S c h u u r and N e w Y o r k V o i c e s
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A lv i n A i l e y A m e r i c a n D a n c e T h e a t e r
T H U 25
T h e K n i g h t s with G i l S h a h a m , violin
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S W I M M I N G I N D A R K WA T E R S : OTHER VOICES OF THE AMERICAN EXPERIENCE featuring R H I A N N O N G I D D E N S , BHI BHIMAN, LEYL A MCCALL A
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F r e d H e r s c h , piano and J u l i a n L a g e , guitar
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The Ghost of Montpellier Meets the Samurai –
t u e 29
A n E v e n i n g with G a r r i s o n K e i l l o r
T r a ja l H a r r e l l
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L e i f O v e A n d s n e s , piano, C h r i s t i a n T e t z l a f f , violin, T a b e a Z i m m e r m a n n , viola and C l e m e n s H a g e n , cello – The Brahms Piano Quartets
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G a b r i e l K a h a n e and T i m o A n d r e s
W e d 13
F R I / S A T 15 16 S U N 17 W e d 20 F R I / S A T 22 23 W E D / T H U 27 28
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B ava r i a n R a d i o S y m p h o n y O r c h e s t r a with M a r i s s J a n s o n s , chief conductor and L e o n i d a s K ava k o s , violin L i l B u c k @ C h a p e l H i l l – A Jookin’ Jam Session A b i g a i l Wa s h b u r n a n d F r i e n d s Les Arts Florissants w i t h William Christie,
harpsichord and director
M a r t h a G r a h a m D a n c e C o m pa n y
La Verità – C o m pa g n i a F i n z i Pa s c a
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important information
Tickets
Ticket Pricing All ticket pricing is subject to change. The most current pricing can be found at carolinaperformingarts.org. Ticket Exchanges Subscribers may exchange tickets free-of-charge up to 48 hours before the performance by calling 919.843.3333 or emailing CPAtixquestions@unc.edu. There will be a $10 exchange fee per ticket for non-subscribers. The value of the ticket(s) will be applied to the purchase of another performance or will be held as a CPA credit until the end of the season. Credit must be redeemed by April 28, 2016. All ticket credits remaining after April 28, 2016 will be expired; credit may not be used for the 16/17 season. T i c k e t D o n at i o n s / Unused Tickets Unused tickets may be donated to CPA for a tax-deductible contribution up to 48 hours prior to the published start time of the performance. Unused tickets that are returned after the performance are not eligible for a CPA credit or tax-deductible contribution.
C h i l d r e n at Performances All persons regardless of age must have a ticket for ticketed events; no babes in arms are allowed at performances. With the exception of The Nutcracker, children under the age of 5 will not be admitted to performances at Carolina Performing Arts. If you are unsure whether a performance is appropriate for your child, please consult our Ticket Services representatives at 919.843.3333.
Discounts U N C Fa c u lt y & S t a f f Discounts Several discount options are available to UNC-Chapel Hill faculty and staff (active and retired). Save up to 35 percent off the general public ticket prices when purchasing one of our “Choose Your Own” packages. Single tickets are discounted 15 percent. Please note: A valid UNC OneCard must be presented at the time of purchase to receive these discounts.
Refunds
UNC Student Tickets
Programs and artists are subject to change. If an artist cancels an appearance, CPA will make every effort to substitute that performance with a comparable artist. Refunds will be offered only if a substitute cannot be found, or in the event of a date change. In case of inclement weather, refunds will only be given if the performance is cancelled. Handling fees are non-refundable.
Carolina Performing Arts offers $10 tickets to UNC-Chapel Hill students for all performances. Space may be limited for certain performances. A portion of UNC student fees supports this deeply discounted ticket price, so it is offered exclusively to full-time Carolina students. A valid UNC OneCard must be presented to receive the student ticket price. Students can buy one ticket per OneCard and can present up to two OneCards. Each ticketholder must show a valid OneCard to enter the performance.
Lost Tickets Call Ticket Services at 919.843.3333 to have duplicate tickets waiting for you at the Will Call Window at the Memorial Hall Box Office. Duplicate tickets cannot be mailed.
S ta r t T i m e & L at e c o m e r s
Special Needs & S e at i n g R e q u e s t s
CPA makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and will be seated by ushers at a predetermined time in the program. The late seating break is determined by the artists and will generally occur during a suitable break in the program, designed to cause the least disruption to other patrons and the artists on stage. Please allow extra time to park and find your seats.
Please indicate any special needs or requests when you place your order. Accessible seating is available. Memorial Hall is equipped with infrared listening systems provided free of charge. We have a limited supply of headsets that should be reserved in advance. Accessible parking is also available. A fee for parking may apply.
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Group Tickets Groups of 10 people or more receive 10 percent off the general public ticket price. All group tickets must be purchased together and in advance by calling Ticket Services at 919.843.3333 or by sending your request to CPAGroupSales@unc.edu. Please Be Sure Yo u r E m a i l A d d r e s s is on File We send important performancerelated information via email. Don’t miss important updates and possible time/ program changes.
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STudent Spotlight
Elizabeth M. Melton the performance studies scholar gains new perspective on presenting the arts
B
efore I became a Tar Heel, I was an Aggie at Texas A&M University. My freshman year was difficult, because I had back surgery a month into my first semester. I was a theater major who wasn’t able to participate in any productions, so instead, I joined the Opera and Performing Arts Society (OPAS). OPAS is Texas A&M’s Carolina Performing Arts. I fell into the world of presenting the arts by accident, but I stuck around because I As an interdisciplinary scholar, Elizabeth’s work sits at the intersection of cultural studies, performance studies, and organizational communication. was able to see amazing touring performances for free. As I continued my education at A&M, I gained more experience as an arts administrator. I served on the OPAS enrich my education as a graduate student and my pedagogy board of directors, helped curate upcoming seasons, and as an instructor. received regular emails about the status of our ticket sales. Needless to say, my perspective is a little different from others As a performance studies scholar, I talk to my students, who come to UNC and discover CPA for the first time. colleagues, and professors about risk and the potential for performances to create moments for dialogue around issues I knew what I was looking for in an arts presenter, and we otherwise don’t know how to approach. Both of these honestly, CPA exceeded my expectations. CPA’s commitment ideas collided in Taylor Mac’s artist talk and performance of to students is remarkable. Ten-dollar student tickets are not 1910s – A 24-Decade History of Popular Music last year. Mac only uncommon, but the stuff dreams are made of at many explained that shows are not about trust, but rather a space other universities. Once you consider CPA’s commitment to practice emotions — particularly discomfort. Many arts to new works, the diverse range of international artists who presenters find themselves in a position where they have come through the doors of Memorial Hall, and the staff’s to give the audience what they want and keep everyone creative commitment to each performance experience, it’s entertained. CPA’s commitment to students, new experiences, impossible to ignore that CPA really is something special. and meaningful art helps push our comfort levels at UNC and Now, as a graduate student, I have access to the best of many reminds us to take risks. OPAS introduced me to performing worlds. Through Arts@TheCore, I’ve had the opportunity to arts administration, but CPA encourages me to explore new engage visiting artists as both a student and a teacher. From ways of thinking, feeling, and, most certainly, performing. workshopping devised performances with Gabriel Kahane to a backstage tour for my Popular Music students to numerous Elizabeth M. Melton is a third-year PhD student and teaching discussions with artists after performances, CPA continues to assistant in UNC’s Department of Communications.
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APR
27/28
DUKE PERFORMANCES
2015/2016 S E A S O N | M U S I C , T H E AT E R , D A N C E & M O R E .
I N D U R H A M , AT D U K E , A R T M A D E B O L D LY.
SEASON FINALE
La Verità
COMPAGNIA FINZI PASCA Cirque du Soleil meets Salvador Dalí in this acrobatic interpretation of the Spanish artist’s vision. The result is a decadent dance of dreams, images and people that is both inspiring and surreal.
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#CPAMOMENT
B A L K A N B R A S S B AT T L E : FA N FA R E C I O C A R L I A + B O B A N M A R KO V I C O R K E S TA R
M O N D AY, A P R I L 1 1 | 7 P M PA G E A U D I T O R I U M
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BE AN ANGEL GIVE THE GIFT THAT INSPIRES CAROLINAPERFORMINGARTS.ORG/ANGEL
“I’ve been exposed to different styles of music I would never have experienced if it weren’t for the free tickets through the Covenant. CPA has enhanced my education and made me a more well-rounded person” Kate NaKhle
Class of 2018
Support life-changing artS experienceS with your gift today to the Student ticket angel fund. All gifts will go twice As fAr this yeAr thAnks to A generous chAllenge grAnt. carolinaperformingarts.org
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Beyond the Walls
Our Impact Across Campus
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The Core at Carolina Square officially broke ground on October 22, 2015, a beautiful Carolina blue-sky day.
First-year students from the class “Understanding the World Through Music” enjoy a meet and greet with Ensemble intercontemporain’s music director and conductor Matthias Pintscher.
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Mixing softness and sound in Bach with Chicago Symphony Orchestra violinist Gina DiBello and second-year student Vivek Menon. Audience members enjoy a post-performance conversation with Shara Worden, Andrew Ondrejcak and Pieter Theuns after You Us We All.
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Chicago Symphony Orchestra tubist Gene Pokorny leads students in breathing exercises during a class visit.
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The members of butoh dance company Sankai Juku proudly don their Tar Heel souvenirs after a moving performance of Umusuna, Memories Before History.
You Us We All’s Shara Worden treats first-year students to a class visit. Patrons enjoy a pre-performance talk in the Heavner Gallery prior to one of two performances by the Parisian Ensemble intercontemporain.
Mark Clague (University of Michigan), Jesse Rosen (League of American Orchestras), and Jeffrey Alexander (Chicago Symphony Orchestra) join Emil Kang in a discussion about Orchestras and the Evolution of the American City. UNC Latina/Latino student leaders enjoy an afternoon with Cuban singer Danay SuĂĄrez, which included a photo-op at the Old Well.
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THE Last Word by
Lewis Margolis
W
hen the eagerly anticipated Carolina Performing Arts program for 201516 arrived last summer, I did not “see” Danay Suárez as I flipped through the pages. For cultural and generational reasons, this “key figure in Cuba’s underground rap movement” went unnoticed, but I would soon get to know her. Karl Umble, a colleague in the Gillings School of Global Public Health, and I often share stories about our experiences at CPA concerts, so in August we decided to bring Arts@TheCore to the School. A meeting with Aaron Shackelford, the CPA Mellon Postdoctoral Fellow, soon followed. We discussed artistic themes that would likely resonate with students and faculty — social change, justice, global perspectives, and interdisciplinary practice. Leafing through the CPA program with these themes in mind, Danay Suárez jumped off the page. CPA arranged for her to meet with the Gillings community the day before her concert at Memorial Hall. Maria Belen Ocampo Ordonez, a graduate student in nutrition, facilitated a conversation with Danay Suárez on how she uses music to create change, how music can build bridges between cultures, and whether she thinks about views of health in her music. One student asked about the challenges of being a female artist in Cuba, and another inquired about creativity in a society where political freedoms are limited. Having met the artist and been exposed to some of her views, I was intrigued; I felt drawn, even obligated, to see her perform. I joined a spirited crowd at her concert, and I was enthralled by the energy and imagination of Danay Suárez and the musicians who accompanied her.
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Arts@TheCore made it possible for public health students to see the world differently, and it prompted me to hear and experience a stunning and inspiring artist I had at first overlooked. For years I have been holding a monthly drawing for student tickets in my fall class, in an effort to help my public health graduate students appreciate how the wonderfully accessible performing arts on our campus can enrich their Carolina education. Students are grateful for the prompt to take a break from their studies. Now that I have seen and been inspired by Danay Suárez, I’ll be encouraging, or perhaps challenging, students to use their good luck in my class to choose artists that, at first glance, they had not seen. Dr. Lewis Margolis, a pediatrician and epidemiologist, is associate professor of maternal and child health at UNC’s Gillings School of Global Public Health.
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Mary Camden and David, age 4 Airway Center/Pulmonology patients Patient ambassadors
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