P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
J ULY / AUG 2018
A season inspired by human togetherness, plus 300 years of the Crescent City, behind the scenes with Nitin Sawhney, and more
CONTENTS
Stanford Live Staff & Sponsors Welcome
P—6
Upcoming Events
P—8
Campus Partners
P—12
Scene & Heard
The Ties That Bind
Behind the Scenes
and Unbind
Membership
By Natalie Jabbar Stanford Live’s new lineup showcases the universal aspects of our shared humanity.
P—14
P—34 P—36
Calendar
P—38
Infographic
Infographic
300 years of the Crescent City
Six degrees of Nitin Sawhney
p—16
p—28
Artist Voices
Featurette
Wynton Marsalis on the spirit
A conversation with Inua Ellams
of New Orleans
about his Barber Shop Chronicles
p—18
p—30
Featurette How Nitin Sawhney wrote music for a dance without dancers p—24
3
P—32
Stanford Live & Bing Concert Hall Donors
Plan Your Visit
P A G E— 2 0
P—5
P—39
“City National helps keep my financial life in tune.” So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.
Michael Tilson Thomas Conductor, Educator and Composer
The people you trust, trust City National.
©2018 City National Bank
Call (866) 618-5242 or visit cnb.com
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July/Aug 2018 Volume 10, No. 6
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
STAFF
FOUNDATION & GOVERNMENT PARTNERS
Paul Heppner Publisher
Chris Lorway Executive Director
Susan Peterson Design & Production Director
Bryan Alderman Assistant Director of Development
Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager
IN-KIND PARTNERS
Ryan Davis Associate Director of Engagement and Public Programs Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate
MEDIA PARTNERS
Sierra Gonzalez Director of Marketing, Communications, and Patron Services Maurice Nounou Assistant Director of Ticketing and Sales
Paul Heppner President Mike Hathaway Vice President Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant Corporate Office
Noreen Ong Executive and Contracts Administrator Egan O’Rourke Audio/Video Assistant Manager
Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.
Kimberly Pross Director of Production
Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.
Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Marketing Manager
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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.
PHOTO CREDITS On the cover: Honji Wang and Sébastien Ramirez, photo Johan Persson. Page 6: Illustration by Hybrid Design. Page 12: Photo 1 courtesy of the Cantor Arts Center; 2 Li Huayi 李華弌 (China, b. 1948), Wind Nourishes, Rain Moistens, 2016. Ink and gold on paper. Collection of Akiko Yamazaki and Jerry Yang. Pages 14 & 15: Photos 1, 2, and 3 by Harrison Truong; 4, 5, and 6 by Joel Simon; 7 by Azar Kafaei; 8 by Jessica Yeung. Page 21: Photo by Azar Kafaei. Page 22: Photo by Marc Brenner. Page 24 & 26: Photos by Johan Persson. Page 25: Photo by Suki Dhanda. Page 29: Nitin Sawhney photo by Suki Dhanda. Page 30: Photo by Marc Brenner. Page 32: Photo 1 courtesy of Cal Performances, 2 by Joel Simon. Page 34: Photo by Joel Simon. Page 33: Photo 2 by Joel Simon, 4 by Azar Kafaei.
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WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“One of the things that’s beautiful about New Orleans is how culturally rich we are and how well we have worked together. People call us a gumbo. It’s really important that we get focused on the very simple notion that diversity is a strength, it’s not a weakness.” — M I TC H L A N D R I E U
In planning the 2018–19 program, we went
for the Arts and individual donations) has
Stanford Live presents
down a number of paths probing universal
allowed us to invite several artists to spend
a wide range of the finest
and deeply-felt expressions of life, love, and
an extended period of time on campus.
performances from around the
loss. How do artists with various cultural
Kicking this off is multidisciplinary artist Nitin
world, fostering a vibrant learning
backgrounds and histories ritualize these
Sawhney who, as you will see, has his fingers
community and providing dis-
foundational stages of being?
in many pots. His new work Dystopian Dream—
tinctive experiences through the
coproduced by Stanford Live—was developed As we researched these ideas, we found
performing arts. With its home at
with the brilliant dancers/choreographers
ourselves returning to the city of New
Bing Concert Hall, Stanford Live is
Wang Ramirez and will be a core component
Orleans, a place that embodies this nexus
simultaneously a public square, a
of Nitin’s residency with us.
sanctuary, and a lab, drawing on
of living like no other. Conveniently, it is also the 300th anniversary of its founding, so who
In addition, Nigerian-born London writer
better to talk about the city and its cultural
Inua Ellams tells us about his play Barber
legacy than the legendary Wynton Marsalis
Shop Chronicles, which I’m excited to bring to
who joins us for a public conversation in
Stanford after sold-out runs in London.
September. His lyrical statement in this issue
Finally, our summer lineup offers a tip of the
on the Crescent City was originally written
hat to a few of next year’s programs. Classic
as a tribute to the New Orleans Saints’ first
Albums Live returns to the lawn outside the
Super Bowl victory.
Bing with music by artists who have played Frost (which will re-open next May). And
A new residency initiative (supported
Lucia Micarelli, star of HBO’s Treme, makes her
through the office of the Vice President
Stanford Live debut. 6
the breadth and depth of Stanford University to connect performance to the significant issues, ideas, and discoveries of our time.
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J U LY / A U G 2 0 1 8
Upcoming Events
JAZZ
CLASSICAL
CLASSICAL/POP
Or Bareket
Merola Opera
Lucia
Duo
Program
Micarelli
With special guest Camila Meza
Schwabacher Summer Concert
KEY:
A M P L I F I C AT I O N
AU D I E N C E I N T E R AC T I O N
WHEN: S U N DAY, J U LY 1 7:00 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: SAT U R DAY, J U LY 7 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: S U N DAY, J U LY 8 7:00 PM
VENUE: B I N G C O N C E RT HALL
Born in Jerusalem and
In this special Bing Concert
The Bing welcomes the
raised in Buenos Aires and
Hall performance, opera’s
young violinist best known
Tel Aviv, Or Bareket is one
greatest moments will come
for her collaborations
of the most in-demand and
to life as the young artists
with Chris Botti and her
versatile bassists on the NYC
of the famed Merola Opera
role on HBO’s Treme.
jazz scene. In this intimate
Program perform staged
show, he performs duets with
vignettes with orchestra.
pianist Nitai Hershkovits and guest guitarist Camila Meza. Copresented with the Stanford Jazz Festival
For the full calendar, visit live.stanford.edu.
8
JAZZ
P O P/ W O R L D
Jazz on
Música en
the Green
el Jardín
Miles to Hip-Hop
Latinas Take Over!
WHEN: F R I DAY, J U LY 1 3 6: 30 P M
VENUE: B I N G C O N C E RT H A L L L AW N
WHEN: SAT U R DAY, J U LY 14 6: 0 0 P M
VENUE: B I N G C O N C E RT H A L L L AW N
Three bands perform at this
Grammy Award–winning
outdoor concert: the Miles
rapper Mala Rodríguez and
Electric Band; Kev Choice, a
Mexican electronica band
musician, emcee, and hip-hop
Sotomayor take the stage for
artist; and Sidewalk Chalk, a
an evening of Latin hip-hop
horn-driven unit that blends
and dance.
elements of jazz, funk, hip-
Hosted by Sonido Clash
hop, and R & B. Copresented with the Stanford Jazz Festival
WHEN: F R I DAY, J U LY 20, & SAT U R DAY, J U LY 21 7:00 PM
POP
DISCUSSION
JAZZ
Classic Albums
Silicon Valley
Terrence
Live
Conversations
Brewer
Future of Music: Computer or Composer
Acoustic Jazz Quartet
VENUE: B I N G C O N C E RT H A L L L AW N
WHEN: T H U R S DAY, J U LY 1 9 7 : 30 P M
Known for its faithful re-creations of classic rock albums from
VENUE: B I N G C O N C E RT HALL
WHEN: F R I DAY, J U LY 2 7 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
cover to cover, Classic Albums Live returns for two nights of rock favorites: Fleetwood Mac’s Rumours on July 20 and Creedence Clearwater Revival’s Chronicle Volume 1 on July 21.
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Tonya Mosley, KQED’s
Guitarist and Stanford Jazz
Silicon Valley bureau
Workshop faculty artist
chief, will host a special
Terrence Brewer presents his
evening of conversation and
new project, the Acoustic
performance looking at how
Jazz Quartet, in the intimate
technology is influencing
Bing Studio.
the future of music.
Copresented with the Stanford
Copresented with KQED
Jazz Festival
Roberts With the Not Ready for Naptime Players WHEN: S U N DAY, J U LY 15 2:00 PM
VENUE: B I N G C O N C E RT H A L L L AW N
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Three-time Grammy Award nominee Justin Roberts is truly one of the all-stars
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JAZZ
Andrea Motis Quintet With Wycliffe Gordon & SJW 50/50 Jazz Orch. WHEN: SAT U R DAY, AU G U ST 4 8: 0 0 P M
VENUE: B I N G C O N C E RT HALL
Barcelona-bred prodigy Andrea Motis returns to Stanford Jazz Workshop to share her astonishing trumpet and vocal talent. She’s accompanied by her band, which includes Joan Chamorro, founder of the famed Sant Andreu Jazz Band. Copresented with the Stanford Jazz Festival
To learn what Encore can do for your business, visit encoremediagroup.com.
575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com
L A W
Justin
Business, meet box office.
F A M I LY
FA M LY
Proud to Support the Arts at Stanford
J U LY / A U G 2 0 1 8
Campus Partners
Looking for more things to do this summer? The Cantor Arts Center and the Anderson Collection offer free family activities every second Sunday of the month. These family-focused days of art talks, hands-on art making, and gallery adventures are for visitors of all ages. On
1
July 19, as part of the
3
墨境 Ink Worlds exhibition,
2
the Cantor hosts Michael Knight in conversation with Chinese painter Li Huayi about his unique approach to ink. Then on July 26, the Anderson Collection presents a free screening of Eva Hesse, a documentary by Marcie Begleiter. One of the few women recognized as central to the New York art scene, Hesse had over 20 group shows scheduled for 1970 in addition to being chosen for a cover article in Artforum magazine. For more, visit arts.stanford.edu.
1
2
3
Second Sunday: Family Day
The J. Sanford and
Film Screening: Eva Hesse
Vinie Miller Distinguished
July 8 & Aug 12
Lecture Series:
11:00 AM–4:00 PM
Artist Li Huayi
Terraces and galleries Copresented by the Cantor
Thu, July 26, 6:00 PM Denning Resource Center
Thu, July 19, 6:00 PM
Presented by the Anderson
Cantor Arts Center
Collection at Stanford University
Arts Center and the Anderson Collection at Stanford
Presented in conjunction
University
with the exhibition 墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang
12
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J U LY / A U G 2 0 1 8
Scene & Heard
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1 4
6 7
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1 T H E VO I C E O F C H I L E
2 SEASON PREVIEW
Called “the best young
Also on April 28, Stanford
Chilean songwriter of his
Live executive director Chris
generation” by none other
Lorway offered Stanford Live
than Joan Baez, Nano Stern
members an exclusive preview
brought his indie-folk-rock-
of the 2018–19 season,
jazz fusion to the Bing Studio
which was followed by a
on April 28.
performance by jazz pianist Emmet Cohen.
3 URIEL HERMAN
4 LIGHTS, CAMERA…
MUSIC! 5
Uriel Herman poses with fans
On April 20 under the baton
following his performance
of Keith Lockhart, the Boston
on April 29. The classically
Pops Esplanade Orchestra
trained jazz pianist made a
celebrated over 50 years
stop at the Bing Studio as
of film composer John
part of his U.S. debut tour.
Williams—the man behind the soundtracks for E.T., Star Wars, Harry Potter, and more.
5 BING FLING
6 MUSIC AND
AC T I V I S M The Boston Pops
On May 9, Arturo O’Farrill’s
performance was part of
Cornel West Concerto featured
Bing Fling, Stanford Live’s
the African American scholar
annual gala recognition event
and activist Dr. Cornel West
for Bing members. Guests
in full oratorical splendor.
were treated to a preconcert reception and dinner in the 8
Bing’s Gunn Atrium. 7 A N A RT I S T LO S T
8 G I V E FAC E
TO O S O O N John Bernd was one of
Stanford Live’s partnership
the first artists in the NYC
with the Stanford Concert
dance community to be
Network continued with
diagnosed with HIV. In an
Give Face, Stanford’s very
evening conceived by Ishmael
own fierce, fabulous, fantastic
Houston-Jones, who danced
drag show presented April 27
with Bernd in the 1980s,
in the Bing Studio.
excerpts from Bernd’s works were presented in the Bing Studio on May 4 and 5.
300 Years of the Crescent City New Orleans is one of America’s most vivid sites of cultural encounter. Seated near the mouth of the Mississippi River, the city has been a vital port of entry for new cultural influences. It has been a scene of violent clashes over race, resources, and customs. But, as a nexus where disparate cultures commingle, it has also been an incubator of new and manifestly American forms of expression through performance, cuisine, and community living. To mark the city’s tricentennial this year, we put together a timeline highlighting this history of fusion.
Early 1700s
1789
1827
French Canadian explorer and colonial
Saint Louis Cemetery was established.
A group of students donned colorful
administrator Pierre Le Moyne d’Iberville
Because the city is built on a swamp,
costumes and danced through the
and his brother Jean-Baptiste Le Moyne
the deceased have to be buried above
streets of New Orleans on Mardi Gras,
de Bienville landed at the mouth of
ground. Burial sites feature elaborate
emulating the pre-Lenten revelry they’d
the Mississippi River in 1699. In the first
stone crypts and mausoleums with
observed while visiting Paris. Several
decades of colonization, the indigenous
decorative artwork embellishing the
decades later, a secret society of
tribes of the Mississippi Valley—
tombs. These distinctive cemeteries
businessmen called the Mistick Krewe
including the Natchez, the Houma, and
have come to resemble small villages.
of Comus organized a torch-lit carnival
the Chitimacha peoples—helped the
They are known by the nickname of
procession with marching musicians and
French survive the difficult, swampy
“Cities of the Dead” and have come
rolling floats, setting the stage for the
climate. Iberville coerced other tribes to
to emblematize New Orleans’s unique
public celebrations that would define the
join him in making war on the region’s
relationship to death and mourning—
city’s festive spirit. The all-white Krewe
most powerful tribe, the Chitimacha.
from jazz funerals and voodoo altars
of Comus became the focus of cultural
to its vampire lore.
debate about the relationship between race and the civic tradition more than a
1718
century later when required by the city to integrate or cease parading.
Bienville wrote to the directors of the Mississippi Company in 1717 that he had discovered a crescent bend in the river, seemingly protected from tidal surges and hurricanes, and proposed the new capital of the colony be built there. La Nouvelle-Orléans was born.
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1890
1960s
2005
Ferdinand Joseph LaMothe, known
Dooky Chase’s Restaurant, originally
Hurricane Katrina hit New Orleans,
professionally as “Jelly Roll Morton,” was
founded in 1941 as a sandwich shop,
flooding 80 percent of the city
born. In the late 1800s, brass bands and
evolved into one of the country’s
and leaving 40,000 people
ragtime piano were popular, while poor
first African American fine dining
(disproportionately people of color)
New Orleans neighborhoods added a
restaurants and became an epicenter
stranded in the Superdome and the
West African and Caribbean touch to
for civil rights organizing, jazz
Ernest N. Morial Convention Center
local music. From this mix emerged
performances, and Creole cooking.
for five days. In Louisiana, 1,577 people
Charles “Buddy” Bolden, a cornetist who
Thurgood Marshall, Oretha Castle
lost their lives. Relief efforts were
formed a group in 1895, fusing these
Haley, and Dr. Martin Luther King Jr.,
monumental, with more than 1 million
influences with blues, black Baptist music,
among others, held strategy sessions
volunteers flocking to New Orleans to
and his own legendary improvisations—
over meals by chef Leah Chase in the
help rebuild the city.
in effect, inventing jazz. Louis Armstrong
upstairs meeting room.
was born soon thereafter in 1901.
1930s –1940 s
1970
In 1938, Tennessee Williams moved to
The first New Orleans Jazz and Heritage
New Orleans to write for the federal
Festival debuted as a relatively small-
Works Progress Administration,
scale event in Louis Armstrong Park,
eventually immortalizing the French
attracting a mere 350 attendees. The
Quarter’s romantic decay in numerous
festival has since become one of the
plays including A Streetcar Named Desire
city’s major annual events, attracting
and Vieux Carré.
half-a-million-strong crowds and major
2017
international music acts. This same year Mayor Moon Landrieu inaugurated
Inspired by conversations with jazz
and began to oversee desegregation of
band leader Wynton Marsalis, Mayor
government and public services.
Mitch Landrieu and his administration undertook the removal of four divisive
1987 Big Chief Allison “Tootie” Montana was the recipient of a fellowship as a Master Traditional Artist from the Folk Art Program of the National Endowment for the Arts. Tootie was one of the city’s most famous “Mardi Gras Indians.” The more than century-old tradition among African American men involves dressing on Mardi Gras day in elaborate, handmade costumes reminiscent of the American Plains Indian dress and the beadwork of Yoruba peoples in Nigeria to pay homage to enslaved ancestors and the indigenous allies said to have aided those escaping bondage.
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Confederate monuments from public sites in New Orleans, reminding us, “There is no other place quite like it in the world that so eloquently exemplifies the uniquely American motto: e pluribus unum—out of many, we are one.”
ARTIST VOICES
The Spirit of New Orleans By Wynton Marsalis
Down on the Bayou where
drained and sprinkled with
becomes laughter. In New
Sundayed in Jackson
the mighty Mississippi kisses
gris-gris dust to house a
Orleans we bury our dead
Square or of the River Walk
Lake Pontchartrain and
wild, unruly population. A
above ground. They always
lovers holding hands…of
spills into the Gulf of Mexico.
city with they own cuisine,
walk amongst us…but
many who have fallen in
There sits that jewel of the
they own architecture,
that music…It always ends
love here, proposed here,
Southland. What the French
they own music…streets
happy. So when a strong
honeymooned here. Not just
lost to the British who
with names like Dorgenois
rain brings angry winds
the howling ghouls of the
gave it to the Spanish who
and Tchoupitoulas.
howlin’ down the Mississippi
frat-boy drunks on Bourbon
or up from the Gulf, those
Street, but they also bring
lost it back to the French who sold it to America
Drummers drag rhythms
misty winds carry the
the angels of all who have
for…Well, some folks say
in dirgey solemnity down
dreams of ghosts, yes, but
romanced in and with this
Jefferson conned Napoleon
neighborhood streets as
not just the goblins of Marie
beautiful land on the Delta.
in a card game and won
horns moan, mock, and moo.
Laveau the Voodoo queen,
it for some jambalaya
Man, hot notes echo against
or the tortured spirits of the
Yes, the ‘haints become
and a chicory coffee.
the sky with such weight
legendary, lascivious lovelies
more famous but the
as to be objects. Objects
of Storyville sporting houses,
Saints endure. Where
New Orleans, N’Awlins, the
of sorrow so passionately
or even the undead demons
were you when 85,000
Crescent City, the Big Easy,
played that the dead begin
of corrupt politicians who
people gathered in the
the northern capitol of the
to cry. Then that trumpet
have steeled our idealism
last open-seated stadium
Caribbean, Groove City.
calls and everyone falls
over three colorful centuries.
in professional football to
Man, they have things down
in behind the band for a
They also bring the spirits
witness John Gilliam run our
there you wouldn’t believe.
second line parade and
of Saints, of those who have
very first kickoff 94 yards for
A mythic place of Mardi
those musicians get to
lived here in quiet dignity
a touchdown? When Tom
Gras and mumbo, Voodoo
hollerin and shoutin and
and sanctified religiosity,
Dempsey kicked that 63-
and the moss-covered,
folks get to struttin and
of those who have raised
yard field goal with half a
alligator-spiked pathways
steppin and the living let go
kids in the shadow of the
right foot? When Tom Fears,
of backcountry swamp
of the dead and sorrow soon
St. Louis Cathedral and
Hank Stram, and Jim Mora
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S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
prowled the sidelines? Were
your college days, the length
demons, goblins, AND saints
you there when Howard
of the Civil War, WW II)…
away forever. There goes
Stevens, Danny Abromowicz,
then 43 years is an eternity.
old Jean Lafitte, the pirate,
Rickey Jackson, and
You ever wait for something
relocated to Houston; there
Archie Manning donned
so long that waiting for it
goes old Jelly Roll Morton
the black and gold? Ahhh,
becomes the something?
off somewhere in Memphis
those New Orleans Saints!
You ever see grown folks
with that diamond still
Confined to a purgatory of
put bags over their heads
sparklin in his front tooth.
their own making, looking
in public, covering up to
for the fast track to hell.
hide from themselves like
We live the moment. Laissez
Maybe a brand-new dome
an old alcoholic who won’t
les bon temps rouler! Let the
would appease the gods of
admit? We can’t help it.
Good Times Roll. I think I
football—a Superdome.
We’re with our Saints even
hear that trumpet calling
when we ain’t. New Orleans
the children of the Who
Fathers bounced kids on
people are stubborn and
Dat Nation home—not
their knees while explaining
hate to leave home. Down
Gabriel’s or the horns that
how we would certainly blow
here, people like to brag
blew down the walls of
our 30-point halftime lead
about how they handle
Jericho—that jazz trumpet
by game’s end…and the
tragedy. Epochal hurricanes
conjuring up the spirit world
Saints did not disappoint.
like Betsy and Camille
with a Congo Square drum
Were you there when the
are discussed as if they’re
cadence. Ghosts, goblins,
Dome Patrol brought us
people. “Betsy was bad but
and ‘haints aggravate.
to the upper chambers
Camille, Lawd Have Mercy,
Saints congregate. I hear
of purgatory in search of
the water was up here to
them now bringing that
playoffs, playoffs...playoffs?
my neck.” Nobody brags on
43-year second line to a
Yes, ‘haints become famous
Katrina. She swept through
glorious crescendo. “Who
but Saints endure. Just ask
here like death on a high
Dat Say What Dat When
Deuce. If 4 years is a long
horse. Those floodwaters
Us Do Dat?” It’s like waiting
time (your high school years,
seemed to run all the
43 years to hear somebody say “I Love You” back. And they do. Let the tale be told ‘bout the black and
“A mythic place of Mardi Gras and mumbo, Voodoo and the moss-covered, alligator-spiked pathways of backcountry…”
gold won the Super Bowl. And those jazzmen still play sad songs, but they always end happy…they always do. —Excerpted from wyntonmarsalis.org
Wynton Marsalis in Conversation Tue, Sep 25 7:30 PM Bing Concert Hall
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M A I N F E AT U R E
1
The Ties That Bind and Unbind By Natalie Jabbar
In her poem “Human Family,” the late
Steeped in a media landscape replete
In its past season, Stanford Live
writer and activist Maya Angelou
with discord and downright divisiveness,
focused on how America and Canada
recounts the vast differences that
we may find it difficult to grasp, let
define themselves—for better and for
divide us, only to conclude with the
alone believe, Angelou’s sentiment on
worse—through their artistic voices.
following refrain:
our bleakest days. But it is precisely
From Taylor Mac’s American pop
this vital recognition of our human
odyssey to poet Claudia Rankine’s
We are more alike, my friends,
togetherness that inspired the themes
conversation about race in the
than we are unalike.
Stanford Live explores in its 2018–19
American imagination, more than 100
season: Life, Love, and Loss.
artists unpacked notions of nationhood, identity, and nostalgia.
We are more alike, my friends, than we are unalike. 20
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
“The artists we bring to the stage here are authentic—their voices are coming from their own experience.” — C H R I S LO RWAY
2 Emerging from that exploration, the upcoming season seeks to transcend national borders and the rifts dividing daily across the seams of our globe by harnessing the power of live performance to showcase the universal aspects of our shared humanity. “It makes sense that one of the only ways we can break down these political divides is to get to know each other better and to take away the mythology of ‘the other,’” says Stanford Live executive director Chris Lorway. “How can we cultivate a collective sense of empathy toward all sides?” That quest for sincere engagement and deep empathy is at the root of the new season Life, Love, and Loss. What does it mean to chart a life? How do we form bonds of affection? What happens when we lose people important to us? No matter who we are or where we are from, these questions are central to our existence, though we may answer them in astonishingly different ways. And these are the questions that artists from around the world will illuminate on stage this year through music, movement, theater, conversation, film, and more. Travel to New Orleans, a vibrant city teeming with different culture and
peoples, where the sounds of jazz
mining industry. Imagine navigating the
from the likes of the Branford Marsalis
New York dating scene as a queer man
Quartet fill the electric air. Follow the
with cerebral palsy during Ryan Haddad’s
bodies of Circa, a human circus from
one-man show Hi, Are You Single?
Australia, as they twist their limbs beyond comprehension. Listen to
As they weave together ideas like
Catalan musician and composer Jordi
migration, solace, lineage, rituals, and
Savall and a global array of artists
community into the larger themes of
as they pay musical tribute to the
life, love, and loss, this season’s artists
historic routes of slavery. Experience an
invite us to witness how multifaceted
immersive audio-visual performance
but also how connected we as humans
from Sō Percussion as the group reveals
are. Whether they are choir singers or
the complex layers of Britain’s coal
writers, violin players or contemporary
21
M A I N F E AT U R E
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
3 1. Honji Wang and Sébastien Ramirez will be in residence at Stanford this fall 2. A scene from Monchichi, which Wang Ramirez performed in the Bing Studio last season 3. Inua Ellams’ Barber Shop Chronicles captures the way community and culture come to life in everyday gathering spaces
dancers, they are all storytellers as well.
artists who will spend extended periods
open to these artists so that they can
If, as the late great political philosopher
of time on campus, interacting with
use Stanford to inform their own arts
Hannah Arendt once wrote, “storytelling
faculty, students, and the community.
practice,” Elam continues. “This is one of the first steps for truly making
reveals meaning without committing
Stanford a destination for the arts.”
the error of defining it,” then each of
“One of our major goals for the arts
these live performances tells a story
at Stanford is to make our university a
that unveils some aspect of a culture
vibrant home for arts and artists. We see
Residencies like these can be
or a history without reducing it to a
artists’ residencies as a vital component
transformative for the artist, audience,
mere data point. And that complex
of this strategy. Next year’s Presidential
and students alike. Stanford political
story, in this era of distilled, distorted,
Residencies with Nitin Sawhney and
science PhD candidate and lifelong
and simplified sound bites, is an
Wang Ramirez will be an opportunity
ballet and contemporary dancer Glory
incomparable gift.
for these artists to interact more closely
Liu took a master class from visiting
with Stanford students, particularly,
international hip-hop duo Wang Ramirez
To support the next generation of
and with the Stanford community
(Honji Wang and Sébastien Ramirez) last
such vital storytelling and art making,
more generally,” says Harry Elam, vice
year. She says working intensely with
Stanford Live and the university at large
president for the arts and senior vice
Honji Wang, learning the duo’s stories,
are also now making an investment in
provost for education.
and then ultimately seeing them perform was both enriching and unforgettable:
supporting cutting-edge artists and bringing them to campus. Through the
“The residencies also are about
“To have them come to us and bring a
newly established Stanford Presidential
helping the artists in ways that
different set of traditions, languages,
Residencies on the Future of the Arts,
only Stanford can. The intellectual
and stories opened our eyes to the much
the university can invite a number of
possibilities of this university will be
larger world of dance.”
22
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
As a scholar who focuses on political
from the experience they are talking
theory and American politics who is also
about,” says Chris Lorway. “The
passionate about movement, Liu says
artists we bring to the stage here are
dance—and the arts more broadly—is
authentic—their voices are coming from
an essential language that offers us a
their own experience.”
“We’re staying in the home that we love, thanks to Avenidas Village!”
way to express ideas that may otherwise be difficult to communicate.
And perhaps by listening to these genuine voices as they embody and
“A large part of the national
perform love, life, and loss—and by
conversation that’s happening now
engaging in that magical dialogue
is referred to as that empathy wall—
that happens during the performance
‘we don’t understand the people in
between the artist and each of us—we
Louisiana’ and so forth,” she explains.
might remember that we are, as Maya
“But a lot of dancers are using art
Angelou suggested, more alike than we
as an empathy vehicle. Artists like
are unalike.
Wang Ramirez are using dance as a conversation to transcend ethnic and
Natalie Jabbar is assistant director of
national boundaries.”
public relations for Stanford’s School of Humanities and Sciences.
Nitin Sawhney, a British Indian musician, composer, and producer, will be in residence at Stanford this fall as part of the new Stanford Presidential Residencies on the Future of the Arts. Sawhney will collaborate with the returning dancers Wang Ramirez to produce Dystopian Dream, a surreal and transcendent journey about loss,
Dystopian Dream Nitin Sawhney and Wang Ramirez Thu, Oct 4, & Fri, Oct 5 7:30 PM Memorial Auditorium
Shop Chronicles is supported through this initiative. Ellams, a writer who immigrated from Nigeria to London as a teenager, takes audiences into the intimate space of African barbershops
• 24/7 assistance • Access to a network of over 200 vetted vendors • Discounts on services
surrender, and continuity. In addition, Inua Ellams’ acclaimed play Barber
“Joining Avenidas Village gives us all the benefits of a retirement community, but we didn’t have to move!”
Barber Shop Chronicles A Fuel, National Theatre, and West Yorkshire Playhouse coproduction Thu, Nov 8–Sat, Nov 10 Roble Studio Theater
• Socializing • Cultural outings • Transportation assistance • And more!
in Johannesburg, Kampala, Accra, and London where they will witness stories
“Call (650) 289-5405 for a free personal consultation to see if Avenidas Village will work for you as well as it has worked for us! We love it!”
unravel with every strand of hair shorn. Whether in the artistic residencies or the full range of the 2018–19 offerings, the curators of Stanford Live’s season wanted to ensure that each cross-cultural voice or expression had emanated from an informed, experiential representation. “We’ve become a society of talking heads, a lot of whom are not coming
www.avenidasvillage.org 23
F E AT U R E T T E
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Nitin Sawhney: How I Wrote Music for a Dance Without Dancers By Judith Mackrell
He has composed for films, TV series,
Sawhney was still recovering from
and orchestras. But his Dystopian Dream
the marathon of writing music for
could be his most ambitious work yet.
all eight episodes of the BBC series Human Planet. He admits he was
Editor’s Note: This article was originally
not at his most receptive when the
published in the Guardian on June 2, 2016.
choreographer said to him: “Right Nitin, what I want here is 10 minutes
Nitin Sawhney has always loved
of just banging.” As he recalls: “I was
writing music for dance, but he finds
like, ‘What? What kind of banging?’
working with choreographers a very
How is that going to work for me?”
specific discipline—with very specific restraints. “You have to suspend
However, once he’d worked out that
your ego,” he laughs and mentions
Khan wanted something that “sounded
a particularly challenging moment
very tribal, very primal,” he went
during a collaboration with his good
on to write music unlike anything
friend Akram Khan. It was late and
he’d ever composed before. “It was
2 24
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
3 a ticking that gradually expanded into this huge pulse,” he says of his compositions for what became 2010’s Vertical Road. “It sounded so epic, so strong—it was like the beginning of the universe. Working with someone else’s vision can be such a revelation. Once you start digging into their thoughts, you create something you would never have got to by yourself.” He may be a DJ, a producer, a guitarist, and a composer who’s written for films, TV shows, video games, and symphony orchestras, but dance has always been a force in Sawhney’s life. His mother trained as a bharata natya dancer when she was a young woman in India; and during his own teenage years in Kent, he became heavily involved in the local street dance scene. Seated in his Brixton studio, a magical hive crowded with instruments and recording equipment, he says: “I was a breakdancer when I was a kid. I was really into it.” Later, as a young composer, it was his study of classical kathak music that led Sawhney to write his first scores for dance, working with Britishbased performers like Nahid Siddiqui. Collaborating with Khan—a pairing that began with the 1999 solo Fix— has brought a wider involvement with the art form. He makes proud mention of a charity event at which he performed a solo choreographed by Hofesh Shechter—“a rave dance with a glitter ball”—and says he now attends dance performances regularly, and attentively. “It’s amazing to see how dance is put together. As a musician, it’s such a wonderful
vocabulary. You can hear music in
1–2.
every movement the body makes. Even
Sébastien Ramirez and
when there’s no movement, there’s a tension that is always exciting.”
Honji Wang perform in Dystopian Dream 3.
Sawhney has become such an integral
The acclaimed artist
part of the British dance scene, he’s
and polymath Nitin
been made an associate artist of Sadler’s Wells, the UK’s premier dance house. He feels a deep affection for the London venue and his latest project is almost a love letter to it. The work is part of No Body, a series of multimedia installations designed for 25
Sawhney
F E AT U R E T T E
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
Sébastien Ramirez and Honji Wang perform in Dystopian Dream
different parts of the building, which,
emotion that’s been contained here
the geography. Arranged over three
although inspired by dance, involve no
and is still imprinted on its walls.”
floors, it will begin in the foyer and then move upstairs until it ends in a
live performance. Instead, the event is conceived as a choreography of light,
Working with the video artist Nick
rehearsal room where, he promises,
imagery, and sound, with creations
Hillel, Sawhney trawled through
“there will be some kind of revelation.”
by lighting designers Michael Hulls
an archive of old photographs and
This physical ascent is Sawhney’s way
and Lucy Carter and film by Siobhan
playbills from the theater, piecing
of referencing the wells around which
Davies and Russell Maliphant.
together a history that dates back
the first theater on the site was built: “I
to the early 1800s, when comedians
wanted to create the feeling that the
At first, Sawhney wasn’t clear exactly
like Joseph Grimaldi were its stars.
installation was rising from the depths
why they should be ditching live
This progresses to the 1930s, when
of the past and up into the light.”
performance. “To be honest, I couldn’t
Margot Fonteyn was its fledgling
get my head around where it was
ballerina, before reaching the
For his next dance project, another
coming from.” But, turning the idea
present day. Working with Hillel’s
Sadler’s Wells coproduction, Sawhney
over, he began to see it as a great
images, Sawhney composed his own
is very much in the physical here and
opportunity to work in a new genre
impressionistic, aural recall of the
now. It’s a staged concert of his album
and communicate something of what
theater’s history, which the audience
Dystopian Dream that will feature
the theater means to him. “I had the
will listen to through headphones as
the hip-hop/contemporary dance
idea of an installation that would
they walk through the installation.
duo Wang and Ramirez. During the writing of Dystopian Dream, Sawhney
explore the history of the building— all the performers who’ve left their
The final crucial component of Indelible,
says he had an almost cinematic
mark on the stage, all the heightened
as Sawhney has titled his creation, is
narrative running through his head,
26
and he imagined that at some point the album could be turned into a fully choreographed piece. He worked with Wang and Ramirez at the album’s launch, where they performed to the track “Redshift.” “They captured everything I was hoping for. This album has lots of layers, and they got that. They can work in ways that are symbolic but also deeply personal. They can go from something intimate to something quite epic.” Sawhney talks of feeling a visceral thrill whenever he watches his music take on an independent physical life. “When I conducted the London Symphony Orchestra, that was
Our life here
wonderful. A month earlier, I’d been imagining this music in my head. Now all these people were performing
Chris Gandel and Misty, joined in 2014
it. Dance is such a human, such a full-bodied form of expression; it’s always going to draw you in.”
Amazing
SMILES Frequent Wags.
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Nitin Sawhney: A Musical Life Sat, Sep 29 7:30 PM Bing Concert Hall Dystopian Dream Nitin Sawhney and Wang Ramirez Thu, Oct 4, & Fri, Oct 5 7:30 PM Memorial Auditorium
401 Webster Street, Palo Alto, CA 94301
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Six Degrees of Nitin Sawhney
Nitin Sawhney is one of the most distinctive and versatile musical voices around. A true polymath, he is a world-class producer, songwriter, DJ, multi-instrumentalist, orchestral composer, and cultural pioneer—a latter-day Renaissance man in the worlds of music, film, video games, dance, and theater.
AKRAM KHAN
In 2002, Sawhney worked with dancer and choreographer Akram Khan, writing the music for Khan’s work Kaash, which toured worldwide. These two kindred spirits converged again with zero degrees (2005), bahok (2008), Confluence (2009), and Vertical Road (2010).
ANOUSHKA SHANKAR
He produced Anoushka Shankar’s Grammynominated album Traces of You, which features vocals by Norah Jones.
J O H N H U RT
Sawhney’s 2011 studio work, Last Days of Meaning, is a “parable about entrenchment and dogmatism” in modernday Britain, according to the artist. On the album, songs and instrumental pieces are interspersed with spoken Nitin Sawhney: A Musical Life
reflections voiced by actor John Hurt.
Sat, Sep 29 7:30 PM Bing Concert Hall Dystopian Dream Nitin Sawhney and Wang Ramirez Thu, Oct 4 Fri, Oct 5 7:30 PM Memorial Auditorium
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A N DY S E R K I S
Sawhney composed the music for the Ninja Theory video games Heavenly Sword and Enslaved: Odyssey to the West, both of which star actor Andy Serkis.
C L A I R E FOY
He also recently scored Andy Serkis’ directorial debut Breathe, which features The Crown star Claire Foy.
MIRA NAIR
Sawhney’s notable film and TV scores include music for the BBC series Natural Fantasia and Human Planet and for Oscar-nominated director Mira Nair’s adaptation of Jhumpa Lahiri’s The Namesake.
PAU L M C C A RT N E Y
Sawhney’s 10 studio albums include 2008’s London Undersound, which contains the song “My Soul” recorded with Paul McCartney.
29
F E AT U R E T T E
In Conversation with Inua Ellams Writer of Barber Shop Chronicles
A key performance in Stanford Live’s
shared a little about his purpose in
one would fund me to do this, but the
upcoming season upholding universal
creating this work for the stage.
idea stayed with me. The idea of the poems turned to conversations, to
human dignity—rooted in the common experiences of life, love, and loss—is
What inspired you to write this play?
scenes, to settings, to drama, to politics, to anthropology, to history, to the
Barber Shop Chronicles, a play by UKbased Nigerian playwright Inua Ellams
Years ago I learned of a charity that was
contemporary—to everything really. I
that transcends identities, borders,
trying to train barbers in the very basics
wanted to capture the fragility of black
and creeds. Depicting the barbershop,
of counseling, and I never realized how
men in their own setting.
a space where everyday tasks of life’s
intimate the conversations could get
upkeep give way to profound community
between barbers and clients. Initially
bonds, Ellams’ play offers a supple view
I wanted to be voyeuristic and create
of human continuity across the cultural
poems. Just to record the conversations
I went to London, South Africa, Uganda,
complexities of the African continent
and try and write poems about the
Nigeria, and Ghana. I met individuals,
and diaspora. Before the premiere, he
interactions between these men. No
transcribed and recorded, mixed things
30
How did you approach the piece?
S TA N F O R D L I V E M A G A Z I N E J U LY / A U G 2 0 1 8
“I’ve tried to create that sense of camaraderie and a safe space for the men in the play to be themselves.” — I N UA E L L A M S
together, created whole new characters,
of precision is out there in the public.
scrapped some, and created this play
Maybe the Caribbean men have more
Barber Shop Chronicles
that is 40 percent verbatim, 60 percent
light shown on the many facets of the
A Fuel, National Theatre, and West
invented. It was a lot of work drawing
island, but I don’t think there are that
Yorkshire Playhouse coproduction
strands together and churning. I’ve tried
many of African men.
Thu, Nov 8–Sat, Nov 10
to create that sense of camaraderie and a safe space for the men in the play to
Roble Studio Theater —Courtesy of the National Theatre, 2017
be themselves. What is the significance of the different places in the play? The UK, South Africa, Uganda, Nigeria, and Ghana? Simply because they’re Anglophone Africa rather than Francophone Africa—I wanted to create a diasporas conversation between black African men in the UK and black African men on the continent. And those were the places I had the most friends and ins into barbershops. What do you want people to take away from the piece? Just how vast, complex, and nuanced the continent is. The very many types of black men that exist. The stereotypes created for us, for the actors perfumed on television, all of them lack in grace and specificity and are tired and dated. It is just so multilayered, multifaceted, a plethora of identities that we don’t have represented in the UK, and I wanted to share that. To show the kaleidoscopic nature of masculinity on the continent and here. And we know that black men know that, but I don’t think that level
EAP 1_3 S template.indd 1
4/11/18 10:09 AM
J U LY / A U G 2 0 1 8
Behind the Scenes
We are proud to continue to deepen our partnerships with other organizations in the Bay Area. In particular, Stanford Live has been working closely with UC Berkeley’s Cal Performances to bring several artists to the region for an extended period, allowing a larger number of audiences to experience
1
the work. “Our projects with
3
Stanford Live have been 2
model artistic collaborations,” says Matías Tarnopolsky, executive and artistic director of Cal Performances. “We are thrilled to be partnering again on an exciting and deeply relevant new piece of music, Jimmy López’s Dreamer, which receives its premiere next March in Berkeley and at Stanford.” In addition to Dreamer, audiences on both sides of the Bay will be also be able to experience a variety of shows including Mouthpiece, Barber Shop Chronicles, and Jordi Savall’s The Routes of Slavery C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
Composer Jimmy López with
Last season’s production of the
Mouthpiece, the two-woman
conductor Esa-Pekka Salonen,
“guerrilla folk opera” Counting
show created and performed
who will lead the premiere of Dreamer, an oratorio
Sheep was presented in the
by Amy Nostbakken and Norah
Bing Studio before the Cal
Sadava, will start its Bay Area
co-commissioned with Cal
Performances run in Oakland’s
run in the Bing Studio next
Performances and based
Metro Opera House.
January before heading to
on stories of young people
Berkeley in March.
enrolled in the DACA program in Berkeley.
32
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Membership
J U LY / A U G 2 0 1 8
1
Meet Our Members Ayleen and Emory Lee have been Stanford Live members since 2012 For Emory and Ayleen Lee,
The couple’s commitment to
anniversary at Jeremy Denk’s
their support for Stanford
public service began when
recital this season. Ayleen
Live reflects several important
Emory was in graduate
notes, “What I like about Bing
aspects of their lives.
school, around the time of the
is going to a program I may
Vietnam War. Emory says, “The
know little about but I think I
Emory cofounded the
dissertation I was working on
should go see. And I have an
Stanford Asian Pacific
seemed totally irrelevant, so
enjoyable experience.”
American Alumni Club and
I basically dropped out and
Ayleen attended Stanford
started doing volunteer work
With their many commitments,
Law School after the couple
in Chinatown.” This led to a
why is it important to the
began raising a family, but
career at the U.S. Department
Lees to support Stanford Live?
they met in the 1950s when
of Health and Human Services
“Simply because we love the
Ayleen was attending Mills
and a lifetime commitment to
music and the opportunity it
College. Emory recalls, “There
the importance of public
creates for people to become
was a Stanford/Mills College
service.
acquainted with Stanford. Stanford Live really provides a
exchange. A group of us went up to Mills and that’s how
The Lees are often at Stanford
wonderful service and helps to
I met Ayleen.”
Live programs and even
open up the campus.”
celebrated their recent wedding 34
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3
4
Bing Memberships, concert and series sponsorships, and giving to our annual fund all help make Bing Concert Hall a home for amazing arts experiences. To make a gift to support Stanford Live, please contact our Development Department at 650.725.8782 or supportstanfordlive@stanford.edu. 1
2
3
4
Ayleen and Emory Lee
The Stanford Symphony
Jeremy Denk’s Charles Ives
Although their interests
are pictured in their Palo
Orchestra’s Beethoven
recital on January 28
lean toward classical and
Alto home.
Project during the inaugural
marked Ayleen and Emory’s
jazz, Ayleen and Emory aren’t
season at the Bing was
anniversary.
afraid to take a chance on
a particular highlight for
other offerings like Selected
Ayleen and Emory.
Shorts’ holiday show last year.
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Stanford Live Members Stanford Live thanks the following members for their support: BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Scott & Molly Forstall Jill & John§ Freidenrich Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Trine Sorensen & Michael Jacobson Fong Liu Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Bonnie & Marty Tenenbaum Priscilla & Ward Woods
BING DIRECTOR’S CIRCLE ($15,000–$24,999) Carol & Myles Berg Shawn & Brook Byers Lynn & Jim Gibbons Morton Grosser Catherine & Franklin Johnson Marlo Kahn Kitch & Justin Kitch Joan F. Lane Leatrice Lee Debra & Mark Leslie Sandra Magnussen
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William Coggshall & Janet Littlefield Sissy & Theodore Geballe Judy & Jerrol Harris Kari & Michael Kirk Iris & Hal Korol Charlotte & Larry Langdon Betsy & Matt Matteson Judy Mohr & Keith Reeves Betsy Morgenthaler Og & Ogina Kenneth Weinberg
BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (5) Fred Alvarez & Beth McLellan Alvarez Carla Baird & David Crane Felicity Barringer & Philip Taubman Alison & Joe Barta Sally Benson & Terry Surles Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Regina & Gerhard Casper Diane & Stephen Ciesinski Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Jean-Marc Frailong & Richard Halton Maggie & Fred Grauer Ann M. Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Wende & Tom Hutton Mary Ittelson Lucie Jay Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Sujitpan Lamsam & Scott Sagan Carolyn & William Langelier Laura & Gary Lauder Bren & Lawrence Leisure Robert Lence Cynthia & Richard Livermore Rick & Amy Magnuson Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Bill Meehan David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig The Honorable and Mrs. George P. Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg Karin & Paul Wick David Wollenberg Susan & David Young
PARTNER ($1,000–$2,499) Anonymous (5) Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Therese Baker-Degler Lindy Barocchi Celia Oakley & Craig Barratt Lisa Barrett Deborah & Jonathan Berek Mildred & Paul Berg Jill & Bruce Bienenstock Celeste & Wendell Birkhofer Carolyn & Gary Bjorklund Linda & Steve Boxer Susan Breyer Joan & Thomas Brown Terri Bullock Jane Shaw & Peter Carpenter John Carter & Edie Goldberg Tasha Castaneda Andrew Chan Donald Cheu Holly & Andrew Cohen Sheila Cohen & Richard Mazze Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Toni Cupal & Mike Volpi Cornelia L. Dekker Debra Demartini Tom Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Patricia Engasser Stanley Falkow & Lucy Tompkins Margaret Ann & Don Fidler Rona Foster & Ken Powell Lorien French Betsy & David Fryberger Aileen Furukawa Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman David Hants & Ilze Silis Eric Hanushek & Margaret Raymond Joerg Heilig Anne & William Hershey Caroline Hicks Karen Hohner & Randall Keith Leslie Hsu & Richard Lenon Dorothy & Rex Jamison Pamela S. Karlan Julie Kaufman & Doug Klein Grace Kim Kay & Ed Kinney Doug Fitzgerald & Amy Ladd Albe & Ray Larsen Ayleen & Emory Lee Lucy & Jason Lee Philip Lee & Carlene Wong Shirley Liebhaber Kristen & Felix Lo Joan Mansour Sandra & Joseph Martignetti Yoshiko Matsumoto & John Ryan Vicki & Jim Merchant Dick Miller & James Stutts Martha Morrell & Jaime Tenedorio Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Mary Jane & Richard Otte Carmela & Eli Pasternak Edward & Nadine Pflueger Jin-Piao Trust Shirley & Bob Raymer
SUSTAINER ($2,500–$7,499) Keith Amidon & Rani Menon Jonathan, Frances & Alison Axelrad Mary Bechmann James Campbell James Canales & James McCann
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Katherine & Gary Reback Rossannah Reeves Sara Eisner Richter & Michael Richter Diane & Joe Rolfe Amy Rosenberg & John Slafsky Nancy & Norman Rossen Diana & Philip Russell Doris Sayon Elizabeth & Mark Schar Fund of The Greater Cincinnati Foundation Diane Shemanski Deborah & Michael Shepherd Sally Dudley & Charles Sieloff Susan Speicher Linda & Jeffrey Suto Onnolee & Orlin Trapp Mary & John Wachtel Ben Wegbreit Dr. Irving Weissman & Ann Tsukamoto-Weissman Karen & Rand White Mansie & Gary Williams Elizabeth F. Wright Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (6) Laura Adams Dorothy Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Marie & Douglas Barry Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Ann & John Bender Susan Berman & Leon Lipson Charlotte & David Biegelsen Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Patty Boone & Dave Pfefer Charles Bliss & Caroline Bowker David Braker Prudence Breitrose Laura Breyfogle & David Warner Maude & Philip Brezinski Katharine Carroll & Alison Rosenthal Chanin & Dotson Family Gloria & Michael Chiang Joyce Chung & Rene Lacerte Kalyani Comal & Arun Ramakrishnan Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Ken Daigle & John Schramm III Richard De Luce Donato Desopo & Marian Sagan Christina Reid Dickerson Michael Dickey Carol Dressler Michael Duff Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Eleanor Eisner Maria & George Erdi Anna Espinosa Sally & Craig Falkenhagen Jeffrey Fenton Alex Fielding Joan & Allan Fisch Robert Flanagan & Susan Mendelsohn Diana & Freeman Ford Leah & Lawrence Friedman Drs. Margaret L. Forsyth & Glenn D. Rennels Sarah & Stan Freedman Carol C. & Joel P. Friedman Dianne & Wesley Gardiner Martha Gates & Spencer Commons Karen & Edward Gilhuly Elizabeth Gish Charles Goldenberg & Pamela Polos Jan Newstrom Thompson & Paul Goldstein Margaret & Ben Gong Edward Goodstein & Francesca Eastman Elizabeth & Jeff Grammer Brian & Susan Gray Sally Gressens & Lee Yearley
Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Ann Hammond Clark Sara & Michael Hammond Joyce & James Harris Fran & Steve Harris Katherine Hill & Edward Stabler Freda Hofland & Lester Thompson Robin & Linc Holland Chris Iannuccilli & Michele Schiele Alyson & James Illich Sally & Rob Jackson Leigh & Roy Johnson Lil & Todd Johnson Martha & Michael Kahn Inge Keuppens & Marc Vanlerberghe Mary Lou Kilcline Barbara Klein & Stanley Schrier Renate Klipstas Christina Kong Jeffrey Koseff & Thalia Anagnos Linda & Fredric Kraemer Jean Lane Mr. & Dr. Kurt F. Lang Lisa Lapin Cathy & Stephen Lazarus Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Irene Lin Marcia Linn & Jack Morris Sherry Listgarten Drs. John & Penny Loeb Teri Longacre & Richard Hildebrandt Rachel & Zohar Lotan Kathryn Naylor Low Patricia & George Lundberg Ruth Lycette Kathy Mach & David Scherer Charlene & Dick Maltzman Allison & Nino Marakovic Bettina McAdoo & Gordon Russell Marylin McCarthy Penny & Jim Meier Elyce Melmon Evelyn Miller Maureen Missett Jose Montoya James Murphy Katherine Jolluck & Norman Naimark Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Nancy & Stephen Player Barbara & Warren Poole Kitty & Lee Price Kathryn Pryor Richard & Karen Recht Kyoko Robinson Christine Robles Maureen & Paul Roskoph Ann Rossi Elise & Jay Rossiter Loren & Shelley Saxe Paula & George Schlesinger Cora Schmid Sue Schmitt Schwabacher Family Robyn & Mark Setzen Craig Sherman & Susan Shin Judith & William Shilstone Judy & Lee Shulman Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Karen & Frank Sortino Nancy Stanwood Barbara & Charles Stevens Judith Stewart Tracy Storer & Marcia Kimes Edward Storm Eleanor Sue Rosalinda & Michael Taymor Carol & Christopher Thomsen Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Patti & Ed White John & Jane Williams Polly Wong & Wai Fan You
Marilyn & Irvin Yalom Wai Yau Mitchell & Kristen Yawitz Mary H. Young Roy Zemlicka Selma Zinker
SUPPORTER ($250–$499) Anonymous (6) Matthew & Marcia Allen Dana & Juliana Andersen Richard & Delores Anderson Dan & Leslie Armistead Byron Bader James & Jennifer Bae Anne & Robert Baldwin Betsy and George Bechtel Mary Bellack Bethel Berhanu Pamela Bernstein Richard Boyd & Martha Crenshaw Ruth Brill Beverly Brockway Lottie & Henry Burger Francis & Nancy Cavagnaro Beth Charlesworth Susan Christiansen Albert & Betty Cohen Susie Cohen Elaine Costello & Warren Dougherty Richard & Suzanne Cottle Ann & George Crane Patricia & Tim Daniels Angel & Jonrie Davila Lothar De Temple Judith Dean & Ben Encisco Bernadine Donoghue Maureen & Paul Draper Anne Dubin Ellen & Tom Ehrlich Melanie & Stephen Erasmus Patricia & Fred Evans Joyce Farrell & Brian Wandell Barbara Blatner-Fikes & Richard Fikes Barry Fleisher Madeleine Frankel Amy Friedman E. Alexander Glover The Goldhaber-Fiebert Family Paul Goldstein & Dena Mossar Harry & Diane Greenberg Ann & Barry Haskell Tanya Hastings Karin Heck Jeffrey & Caron Heimbuck Jeanne Hochman Bebe & Rich Hoppe Rob Huffman & Emily Smith Edmon Jennings Patricia Johnson Jane & Bill Johnson Zeev Kaliblotzky Stina & Herant Katchadourian Ron Katz & Libby Roth Barney & Keats Lynn & Richard Kelson Norman & Nina Kulgein Ralph & Rose Lachman Uri Ladabaum Cathy & Dick Lampman Catherin Kawon Lee Y. K. Lee Laurie Leventhal-Belfer Reuben Levy Claire & Herbert Lindenberger Edward Lohmann Marion & Erick Mack Jane & Thomas Marshburn Michael McFaul & Donna Norton Meghan McGeary & Chih Sung Maura McGinnity & Erik Rausch Wallace Mersereau Alan Miller Steven Mitchel Rudolf Moos Mary Mourkas Coralie & Gerhard Mueller Jean & Bryan Myers Theodor & Lisa Nissim Joan Norton Cynthia & James Nourse
Gary Peltz Joseph Pickering Carole & Lowell Price Jennifer Rose Ruth Rothman John Sack & Jeff Rensch Linda Sampson Angela & Samuel Schillace Joy & Richard Scott Lorraine & Jerry Seelig Carla Shatz Russell Siegelman Matthew Sommer Gayle & Scott Spencer Kathy Stark Elliot & Karen Stein Suzanne Stout Elizabeth Trueman & Raymond Perrault Ina Trugman Brigitte & John Turneaure Debbie Vallarino Andrew Velline Teri & Mark Vershel Jefferson Burch & Christine Weigen Susan & Lew Wexler Jay & Sallie Whaley Jeri & Kevin Wheaton Diane Wieder Curt Williams Warren Wu Cristina Zappacosta
PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Margaret Dorfman Scott & Molly Forstall Marcia & John Goldman Stephanie & Fred Harman The Hornik Family Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum Wollenberg Foundation
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous Chamber Music America Nathan Cummings Foundation, with the support and encouragement of Jaimie Mayer Ann and Gordon Getty Foundation Drs. Ben and A. Jess Shenson Funds National Endowment for the Arts $1,000–$9,999 California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation Mid Atlantic Arts Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 5/21/18. For corrections, or to make a contribution, please contact us at 650.725.8782 or supportstanfordlive@ stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. § Deceased
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2017–18 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization. Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews
Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burt McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
SEP / OCT 2018
Calendar
OCT 10 & 11
Wed
Wed
SEPTEMBER 26
OCTOBER 10
Jazz at Lincoln
I’m With Her
Center Orchestra Spaces with dancers Lil Buck
Thu
and Jared Grimes
OCTOBER 11
Rob Kapilow’s Sat
What Makes It Great?
SEPTEMBER 29
Love, Life, and Loss: The Music
Nitin Sawhney:
of Stephen Sondheim
A Musical Life
Sun
OCT
OCTOBER 14
Sundays with the St. Lawrence
SEPT
Wed
St. Lawrence String Quartet
OCTOBER 3
with Anne-Marie McDermott,
Fri
Philharmonia Baroque
piano
SEPTEMBER 21
Orchestra and Chorale
Charles Lloyd and
Mozart Magnified
Thu & Fri
With special guest
Thu & Fri
Hi, Are You Single?
Lucinda Williams
OCTOBER 4 & 5
Ryan Haddad
OCTOBER 18 & 19
the Marvels
Dystopian Dream Tue
Nitin Sawhney and
SEPTEMBER 25
Wang Ramirez
Sat OCTOBER 20
Kronos Quartet
Wynton Marsalis in Conversation
Wed
Music for Change:
OCTOBER 10
The Banned Countries
Rob Kapilow’s Sun
What Makes It Great? Janáček’s Intimate Letters
SEP 26
OCTOBER 21
Seong-Jin Cho
OCT 10
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38
Plan Your Visit
Things to Know The Interlude Café in Bing
Change your plans?
Large-print programs
Concert Hall’s lobby serves
Exchange your tickets or make
are available with 72
guests before performances
a tax-deductible donation at
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and during intermission. For
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the administrative office.
complete hours, menus, and
Please send all requests to stanfordlive@stanford.edu.
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per wheelchair space, is available
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Latecomers arriving after
for all performances. Please
are available throughout the
curtain time will be seated
indicate your needs when
year. For more information,
at a suitable interval in the
purchasing tickets so that an
please send an email to
program or at intermission.
appropriate location can be
bstarr@stanford.edu.
We recommend that you
reserved for you.
arrive at least 30 minutes Sign language interpreting
prior to performances.
is available with five business Assisted-listening devices
days’ notice given to the
are available. Please visit
administrative office—call
Patron Services prior to the
650.723.2551 or email us at
show for more information.
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Performance Venue Information Bing Concert Hall & Bing UN
Concert Hall Ticket Office AR
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Frost Amphitheater
3
Memorial Church
4
Memorial Auditorium
5
Stanford Ticket Office
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Anderson Collection at
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Parking for Memorial Church
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Roth Way, on Museum Way, and on Lasuen Street.
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Directions For driving directions or
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RO SERR A
public transportation
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can be found along the Oval at the end of Palm Drive, on
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Lot and on Lasuen Street, the Oval.
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Alum Centeni r
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can be found in the Galvez S
Museum Way, Roth Way, and
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Alumni Center
101
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Alumni Café, Arrillaga
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Parking for Bing Concert
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and servicevehicle restrictions are enforced at all times.
39
information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.
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