P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
SEP / OCT 2017
Behind the scenes with Akram Khan, plus the art of soft power, Rob Kapilow on Dvoล รกk and national identities, and more
“With First Republic, banking is an incredibly personal experience.” D O R R A N C E DA N C E
Michelle Dorrance, Founder and Artistic Director
(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER
CONTENTS
Stanford Live Staff & Sponsors Welcome
p—10
Upcoming Events Scene & Heard
p—12
p—16
Behind the Scenes
Until the Lions:: From Award-Winning Choreographer and Dancer Akram Khan
Membership
p—32
p—34
Stanford Live & p—36 Bing Concert Hall Donors Calendar
By Sarah Crompton
p—9
p—38
Plan Your Visit
P A G E— 2 2
A Brimful of Asha
Infographic
A Note from the Creator
Six Degrees of Akram Khan
Ravi Jain p—15
p—28
Featurette
Artist Voices
Wendy Luers on the
Dvořák Paints a Tree
Art of Soft Power
By Rob Kapilow
p—18
p—30
Photo Essay Counting Sheep Explores Revolution p—20
5
p—39
Predict. Prevent. Cure. Precisely.
Precision Health is a fundamental shift to more proactive and personalized health care that empowers people to lead healthy lives. Stanford Medicine is driving this transformation by leveraging the art and science of medicine to predict and prevent disease before it strikes and cure it decisively if it does.
med.stanford.edu
FINDING YOUR
INSPIRATION THE EXPERIENCE IS
ALAIN PINEL
APR.COM Over 30 Real Estate Offices Serving The San Francisco Bay Area 866.468.0111
Sep/Oct 2017 Volume 10, No. 1
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7
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, Shaun Swick, 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 Robert Cable Communications Manager Ryan Davis Associate Director of Engagement and Public Programs
IN-KIND PARTNERS
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 Sierra Gonzalez Director of Marketing, Communications, and Patron Services
MEDIA PARTNERS
Danielle Menona Development Associate Maurice Nounou Assistant Director of Ticketing and Sales
Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager
Egan O’Rourke Audio/Video Assistant Manager Kimberly Pross Director of Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Services Coordinator Jan Sillery General Manager Bill Starr House Manager
Corporate Office
Krystina Tran Marketing Manager
425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com PHOTO CREDITS 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. ©2017 Encore Media Group. Reproduction without written permission is prohibited.
Cover: Akram Khan photo by Lisa Stonehouse. Page 10: Chris Lorway illustration by Hybrid Design. Page 15: Ravi and Asha Jain in A Brimful of Asha. Pages 16 & 17: Photos 1, 2, 3, and 8 by Joel Simon; 4, 6, and 7 by Harrison Truong. Page 18: Photo courtesy of the Vaclav Havel Library Foundation. Page 21: Counting Sheep production photos courtesy of the artists. Pages 22 & 25: Photos by Jean Louis Fernandez. Page 27: Photo by Toni Bird. Page 29: Akram Khan photo by Lisa Stonehouse. Page 32: Photos by Joel Simon. Page 34: Photo by Harrison Truong. Page 35: Danish String Quartet photo by Ryan Fong Jae; Sonic Diversity photo by Linda Cicero/Stanford News Service.
9
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“The role of the artist is exactly the same as the role of the lover. If I love you, I have to make you conscious of the things you don’t see.” — JA M E S B A L DW I N
We begin this season against the
Rob Kapilow tells us what makes the music
Stanford Live presents
backdrop of an unstable world.
inspired by and about America great.
a wide range of the finest
We knew that our exploration of
performances from around the
nationhood and identity in 2017–18
Stories of immigration and globalization sit
world, fostering a vibrant learning
was timely, given the issues that
adjacent to these North American histories.
community and providing dis-
were emerging around the globe.
First-generation actor Ravi Jain and his
tinctive experiences through the
The choice to launch the season with
Indian mother explore the tensions between
performing arts. With its home at
one of North America’s most powerful
tradition and assimilation in a light-hearted
Bing Concert Hall, Stanford Live
Indigenous voices, Buffy Sainte-
and endearing conversation over samosas.
is simultaneously a public square,
Marie, was intentional. You can’t have
World-renowned singer Mariza takes us into
a sanctuary, and a lab, drawing
a conversation about nationhood
the sultry and sensual lairs that make up
on the breadth and depth of
without acknowledging the vast history
Lisbon’s fado scene. And this issue’s cover
Stanford University to connect
of our land and its inhabitants.
subject, Akram Khan, brings a South Asian
performance to the significant
From there, Taylor Mac will take us on
epic to life in a new and exciting way.
issues, ideas, and discoveries of
an exploration of the evolution of these
our time.
United States, asking important questions
Now, more than ever, a diversity of artistic
around who gets to write our collective
voices and the stories they share is critical
histories. American Brass takes us
to our coexistence on this fragile planet.
on a completely different musical
We hope that the performances you attend
journey that gives us insight into the
shine a light on the way that art can
origin of the American sound. And
humanize, enlighten, and heal.
10
My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle to find those gaps—and help you achieve what is important to you.
SM
To learn more, please visit unionbank.com/theprivatebank or contact: Vartan Shahijanian Private Wealth Advisor vartan.shahijanian@unionbank.com 415-705-7258
Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor.
©2017 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.
SEP / OCT 2017
Upcoming Events
POP
T H E AT E R
CLASSICAL
Buffy
A 24-Decade
Philharmonia
Sainte-Marie
History of Popular
Baroque
Music (Abridged)
Orchestra and
Taylor Mac
Chorale
KEY:
The Judas Passion Nicholas McGegan: Conductor
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: F R I DAY, S E P T E M B E R 22, 7:30 P M
WHEN: W E D N E S DAY, S E P T E M B E R 2 7, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, O C TO B E R 4, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
PRESHOW TALK: 6:30 P M
Since her folksinging debut
Join us for an abridged
Philharmonia Baroque
in 1964, Buffy Sainte-Marie,
version of this epic,
Orchestra and Chorale
a Cree singer-songwriter
award-winning 24-hour
reveals a groundbreaking new
born in Canada, has been
performance art concert,
work by Scottish composer
an avatar of the international
which decodes the social
Sally Beamish with libretto
protest movement and a
history of the United States
by David Harsen: The Passion
performer of the first order.
through popular songs
According to Judas.
Fifty years on, her voice has
ranging from “Yankee
lost none of its presence and
Doodle Dandy� to disco.
power.
Generously supported by Roberta and Steven Denning, Scott and Molly Forstall, the Hornik Family, and the Koret Foundation
12
JAZZ
DISCUSSION
POP
CLASSICAL
Mads Tolling &
In Conversation
Perla Batalla:
Rob Kapilow’s
The Mads Men
with Samantha
A Tribute to
What Makes
Playing the 60s
Bee
Leonard Cohen
It Great?
WHEN: SAT U R DAY, O C TO B E R 7, 8:00 PM & 10:00 PM
RESCHEDULED
Please note: This event,
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: W E D N E S DAY, O C TO B E R 1 1 , 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
originally planned for October 6, is being rescheduled.
The St. Lawrence String
For the latest updates, sign up for our notification list at live.stanford.edu/notifications and check back at live.stanford.edu. Current ticket holders will be contacted. WHEN: F R I DAY, O C TO B E R 6, 8: 0 0 P M & 10:00 PM
Perla Batalla reveals the
Quartet joins Rob Kapilow
timelessness of Cohen’s art
to explore and appreciate
to convey her sincere respect
Antonín Dvořák’s American
and deep love for the music,
Quartet, perhaps his
for the poetry, and most of
most popular work.
all for her dear friend.
Generously supported by Bonnie and Marty Tenenbaum
VENUE: B I N G C O N C E RT H A L L ST U D I O
Grammy Award winner Mads Tolling is celebrating the music of the 1960s “Mad Men” era.
CLASSICAL
T H E AT E R
POP
American
A Brimful
Andrew Bird
Brass Quintet
of Asha
Generously supported by
Why Not Theatre
Stephanie and Fred Harman and the Koret Foundation JAZZ PROJECT
WHEN: S U N DAY, O C TO B E R 15, 2:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, O C TO B E R 1 8, 8:00 PM T H URSDAY, O C TO B ER 1 9, 8:00 PM
Created in 1970, the venerable quintet hailed by
F RIDAY, O C TO B ER 2 0, 8:0 0 P M
Newsweek as “the high priests of brass” pays its first visit
SATURDAY, OCTOBER 21, 8:0 0 P M
WHEN: F R I DAY, O C TO B E R 2 0, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
SUN DAY, O C TO B ER 2 2 , 2 : 30 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
Dubbed a “one-man orchestra of the imagination,” Indie-folk star Andrew Bird is
to the Bing with a program
a multi-instrumentalist who
devoted to the early days of
pays equal attention to his
the American republic.
Culture clash, Canadian-style, comes to life in this twoperson play written by and starring mother and son Asha and Ravi Jain. 13
violin and guitar onstage and an arcane lyricist who whistles full solos with blithe, perfect clarity.
JAZZ
WORLD
SFJAZZ
Daniel Pearl
Collective
World Music Days
The Music of Miles Davis
Concert
WHEN: SAT U R DAY, O C TO B E R 2 1 , 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: T H U R S DAY, O C TO B E R 26, 7 : 30 P M
VENUE: MEMORIAL C H U RC H FREE
PRESHOW TALK: 6: 30 P M
Founded in 2004 in San
Stanford musicians,
Francisco, this award-winning
including members of the
octet celebrates legendary
St. Lawrence String Quartet,
jazz artists by performing their
curate this annual concert
masterworks and by creating
honoring the memory of
new music expanding on those
alumnus Daniel Pearl.
influences. Generously supported by the Koret Foundation JAZZ PROJECT
WORLD
DANCE
CLASSICAL
Mariza
Until
The Stradivarius
An Intimate Evening with Special Guests
the Lions
Ensemble of
Akram Khan Company
the Mariinsky
WHEN: W E D N E S DAY, O C TO B E R 25, 8:00 PM & 10:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
Orchestra WHEN: F R I DAY, O C TO B E R 2 7, 7 : 30 P M
Mariza is the embodiment of modern fado, Lisbon’s emotion-filled folk music. Her soulful voice expresses
VENUE: MEMORIAL AU D I TO R I U M
WHEN: S U N DAY, O C TO B E R 2 9, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
SAT U R DAY, O C TO B E R 2 8, 7 : 30 P M
the essence of this melancholy art form, a song style dating back to the early 19th century.
Acclaimed choreographer
The Mariinsky Orchestra’s
Akram Khan brings the full
Stradivarius Ensemble is
range of his artistry to bear
an elite group of string
in his newest work, Until the
musicians led by conductor
Lions, based on the ancient
extraordinaire Valery Gergiev.
epic The Mahabharata.
14
A Brimful of Asha A Note from the Creator Ravi Jain
In 2007, my parents tried to arrange
to speak in crowds, but she does
and joys, while the rest of the
my marriage on a trip to India. It
love to entertain people at her
audience has a chance to really
didn’t go so well. We decided to
house in the suburbs of Toronto.
see and understand a perspective
make a play about it, and since
that they don’t often have access
2012, we’ve been touring the world
My favorite thing about the show
inviting people into our home.
is that an audience gets to hear
My mother, who is not an actor,
her side of the story, from the
cowrote and performs the show with
point of view of her life, from
me. It’s as much her story as it is
immigrating to Canada to getting
mine. Not only is she NOT an actor,
married only hours after meeting
my mother is someone who doesn’t
my father. Immigrants see their
go to the theater; she doesn’t like
story through our eyes, struggles,
15
to. It’s a story we can all relate to.
A Brimful of Asha Wed, Oct 18-Sun, Oct 22 Bing Concert Hall Studio
SEP / OCT 2017
Scene & Heard
2
1 4
6 7
7
16
3
1
2
C A NA DA DAY
C A NA DA DAY
On July 1, Stanford Live
Nova Scotia native Burton
marked Canada’s 150th
MacIntyre gave lessons in
birthday with a daylong
traditional Cape Breton
celebration featuring music
square dancing on the Bing’s
and dancing in and around
main stage.
Bing Concert Hall.
5
3
4
C A NA DA DAY
M U SIC O F WO O DSTOC K
With his trademark suit and
Classic Albums Live brought
glasses, snappy Canadian
a note-for-note, cut-for-
singer-songwriter David
cut re-creation of Music of
Myles performed a solo set in
Woodstock to the Bing for a
the Bing Studio.
special outdoor concert on July 14.
5
6
M U SIC O F WO O DSTO C K
B E T SAY DA MACHA DO
In honor of the 50th
On July 15, Venezuelan diva
anniversary of the Summer of
Betsayda Machado was
Love, audiences got a taste of
joined by her hometown’s
what was happening on the
resident percussion ensemble,
other coast.
La Parranda El Clavo.
7
8
B E T SAY DA MAC HA D O
F E D E RSPIE L
Prior to Betsayda Machado’s
It was all about Austria
show, audience members
on July 8 when the seven-
were treated to a free
piece brass band led a
dance session accompanied
performance in the Bing’s
by the master drummers
Gunn Atrium—complete with
of the ensemble La
schnitzel, pretzels, and beer!
8
Parranda El Clavo.
F E AT U R E T T E
Former Czech President Vaclav Havel with Wendy and William Luers.
The Art of Soft Power By Wendy Luers
For years, countries have employed “soft power” as a strategic tool to position themselves in a positive light. From traveling orchestras to pop stars, from art exhibitions to language classes, these initiatives offer a nation the chance to shine a light on what is great about its culture and people. Here are just two examples from artists coming to Bing this fall.
The power of culture is often
effect on my worldview. For five years,
underestimated as a diplomatic
working for Amnesty International,
tool, but cultural exchange can not
I engaged cultural figures such as
only serve as a universal icebreaker,
singer Joan Baez, playwright Arthur
it can tear down walls and build
Miller, and novelist Kurt Vonnegut to
bridges between the most hardened
work closely with politicians, music
of enemies. It may not turn foes
publishers, and activists to help free
into instant friends, but it does
political prisoners (such as Czech
allow nations to find points of
dissident Václav Havel) and denounce
commonality that transcend politics.
repressive governments. It was a time when artists, musicians, playwrights,
As a young Stanford University
writers, and intellectuals actively
The Stradivarius Ensemble
graduate working as a journalist
shaped the discourse of world politics.
Sun, Oct 29
with San Francisco Magazine and Time in
Sachal Ensemble
the 1960s and 1970s in the Bay Area,
This spirit of cultural engagement
I quickly realized that the prevailing
would remain a powerful force
counterculture was having a profound
throughout my life after I married
Wed, Nov 15
18
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7
William Luers, the U.S. ambassador
for their culture underscored for
With the Velvet Revolution in
to Venezuela, and helped start the
Venezuelans the richness inherent in
1989, these dissidents became
Foundation for Art and Preservation
their country and our appreciation of it.
president, foreign minister,
in Embassies (FAPE) in 1986 to assist
ambassador, and political leaders
the State Department’s various
Our next posting to the Czechoslovak
programs designed to permanently
Socialist Republic was very different.
place and preserve art in U.S.
When we moved to Prague in
Time and again, cultural diplomacy
embassies around the world.
1983, at the height of the Cold
offers a way to interact with people all
War, no Western television, print
over the world, underscoring that the
When I first joined Bill in Caracas
publications, or radio were allowed
United States is a multidimensional
in 1979, America’s relationship
inside the state-controlled country.
power, known as much for its artistic,
with Venezuela was of the utmost
of a free Czechoslovakia.
intellectual, and political freedom
diplomatic importance because
To address this repressive climate, we
as for its economic, military, and
of oil. Conversely, many influential
again turned to cultural diplomacy.
political might. For career diplomats
Venezuelans went to the United
We invited many of the American
and political appointees, it is not only
States regularly for education, culture,
writers and artists who had come
a privilege but also our obligation
medical attention, and shopping.
to Caracas, plus others such as
to present a holistic image of the
As a result, relations between the
poet Galway Kinnell, to visit. Using
United States—one that showcases
two nations tended to be narrow
the residence to bring prominent
our fundamental respect for pluralistic
and one-sided. Bill, a seasoned
American creative thinkers together
beliefs, diversity, and world culture.
career Foreign Service officer, and
with their counterparts, often
I, having served on various theater
dissidents, was extraordinarily
and museum boards, worked as a
gratifying and compelling. We strongly believed in the power of the arts to affect diplomatic relations.
Playwrights Arthur Miller and
More than 1,000 people came to hear
Edward Albee, photographer Inge
American jazz musician Fred Starr
Morath, novelists John Updike and
give a concert at the only venue we
John Cheever, and artists such as
could use—our lawn! In 1985, we
Richard Diebenkorn, Frank Stella,
took writer Kurt Vonnegut to a union
and Larry Rivers all came as our
hall, where a group of creative Czech
guests. The diplomatic events we
students transformed Cat’s Cradle into
hosted showcased American culture
a brilliant play using a rolling cart
and belied the image of the United
made of plumbing pipes. Kurt was
States as merely a commercial and
astounded—it influenced every play
military heavyweight. However,
that he would write after that.
cultural diplomacy wasn’t simply about gatherings and press.
Proud to Support the Arts at Stanford Personal attention thoughtful litigation
We saw so much of dissidents like
final resolution
Václav and Olga Havel, writer Ivan
Our goal is to preserve our client’s dignity and humanity.
We worked actively to show how we, as
Klíma, translator Jaroslav Kořán, rock
Americans, had a deep-rooted respect
star Michal Kocáb, and journalists
for Venezuelan culture and traditions.
Michael Žantovský and Jiří Dienstbier
And we often traveled deep into the
that the communist Czechoslovak
Venezuelan Amazon jungle to visit the
government filed a formal complaint
Yanomami, Makiritare, and other tribes.
with the State Department. The Czech
As we were leaving in 1982, an exhibit
ambassador insisted, “You have to
of our extensive collection of folk and
choose between them and us.” Bill
tribal art was televised. Our respect
replied, “Don’t ask me to choose.” 19
FA M I LY L AW G R O U P, P. C .
575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com
F A M I LY
cultural figures to visit Venezuela.
L A W
team to bring prominent American
In January 2014, Mark Marczyk touched down in Kiev and was quickly thrust into a nation on the eve of revolution—a volatile whirlwind of tragedy mixed with hope and solidarity and torn apart by brutal violence.
A barricade line separates interior troops and protesters.
Counting Sheep Photo Essay Later this season, Stanford Live
as they perform moments of revolution
presents a striking, visceral exploration
among video projections of real-life news
into the politics of revolution with
coverage and found footage.
the guerrilla folk opera Counting Sheep, created by Mark and Marichka Marczyk, who witnessed Ukraine’s Maidan Revolution for themselves. The 12-member cast envelops audience members in this historic time period,
The revolution involved a series of violent events
Counting Sheep Wed, Feb 7-Sat, Feb 10 8:00 PM Bing Concert Hall Studio
20
involving protesters, riot police, and unknown shooters in the Ukrainian capital.
Counting Sheep stars the Lemon Bucket Orkestra, a 15-piece “Balkanklezmer-Gypsy-party-punksuper band.”
“It was less of a desire to make a show and more of a desire to help.” —Mark Marczyk
“One of the reasons it was easy to convince the Lemon Bucket Orkestra to do this was they saw that they had to help me get it out of my system.” —Mark Marczyk
2A1
1
Until the Lions From Award-Winning Choreographer and Dancer Akram Khan By Sarah Crompton The choreographer performed
Akram Khan is one of Britain’s most
here much quicker than in my body,”
in Peter Brook’s legendary stage
successful and prolific choreographers;
he explains. “I’m terrified that in a
production of The Mahabharata
his work exudes a sculpted beauty and
simple movement my body will give
as a child. As he prepared a
calm certainty. His dancing, combining
in and I won’t be able to do it. I can
new dance version of the Indian
the training of his youth in the Indian
do it, and can do it really fast, but it’s
classical stories, he explained why
classical dance form of kathak with
psychological.” This sense of frailty
he has put women center stage.
contemporary mores, has an almost
accelerated when he tore his Achilles
transcendent complexity. And yet, he
tendon in 2012. He was rehearsing
Editor’s Note: This article was
says: “I am becoming more and more
Sacred Monsters, the piece he created
originally published in The
afraid.” He smiles and points to his
for and performed with Sylvie Guillem,
Guardian in January 8, 2016.
smoothly shaved head. “I am ageing
when he felt it snap; the resulting
22
60 Bay Area locations. See a Stanford Children’s Health pediatrician at Peninsula Pediatric Medical Group
Access to Excellence.
M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7
four cm. gap could have ended his
now he is working on the detail of
of The Mahabharata as it toured the
career. But he fought back to full
the choreography, twisting and
world. The experience left its mark.
dancing strength, leaving doubts only
turning as he experiments with
in his own mind. “When I am stressed
different shapes and steps. The
“If you feed a child McDonald’s
or excited, I still walk with a limp,” he
work reveals a compelling sweep
every day, that child will start to
says. He stands up to demonstrate,
and ferocity as it tells the story of
look different. You feed them only
laughing at his own fallibility.
Amba, a princess abducted by the
vegetables, the child will feel and
prince Bhishma on her wedding
think differently. If you feed them a
We are talking in a rehearsal room
day. She seeks revenge on her
diet of The Mahabharata, it stays with
in Kensington, West London, where
captor, eventually killing herself and
you. Spending all that time with Peter
he is putting the finishing touches
returning from death in the shape
Brook, and looking and listening and
on a recent creation, Until the Lions,
of a woman who becomes a male
learning, also influenced me a lot. He
based on a story from the epic Hindu
warrior in order to exact punishment.
showed me how to get rid of the fat, go
poem The Mahabharata. With designs
to the essence of things. Simplicity is a
by Tim Yip, lighting by Michael
Although choreographically Until the
Hulls—both regular collaborators—
Lions is a complex synthesis of the
sophistication and he is a genius at it.”
and a score by Vincenzo Lamagna,
traditional and the contemporary,
Yet Khan’s exploration of the story
it is an ambitious, striking work.
drawing on all Khan has absorbed in
of Amba owes just as much to other
his career, it also represents a return
influences, particularly that of the
At an early run-through at the
to his roots. From the age of 13 to
poet Karthika Naïr, whose book of
Leicester Curve in August, Khan
15, he spent two years performing
poetry based on the female characters
created the structure of the piece;
in Peter Brook’s nine-hour version
in the epic saga, also called Until the Lions, provided Khan’s principal inspiration. “She planted a seed in my head. In Brook’s version, the male characters are more dominant than the female characters. I realized that when I was doing that version, I was motherless because I was on tour for two years. I am very close to my mother but I was without her, so I became very close to the actresses, who were playing heavy roles—but they were not the heroes, they were not celebrated. It’s generally like that in myths, because the hunter is always going to tell the story. In battles, the victors write history, not the losers.” The title of Naïr’s poems is taken from an African proverb that suggests a story is not complete “until the lions have their say.” The lions, in this case, are the women. Khan was also fascinated by the gender roles, the way a character is transformed from female to male. “As a contemporary dancer I am a bit more masculine and animalistic,” he says, “but when
M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7
I do kathak I am shifting between
the words of the story are used as
incorporated Indian dance. That was
femininity and masculinity because
part of the soundscape, and the
my focus,” he explains. “Now, for me,
somehow the form itself gives you
telling is impressionistic rather
mathematics is a means to an end.
permission to be androgynous, to
than literal—Khan has reached a
There has to be a connection to a
move between yin and yang.”
point in his career at which it is the
human narrative, otherwise it’s just
storytelling that interests him. “I
numbers. I’ve moved from being a
Although Until the Lions is by no
started abstract—I wanted to create
scientist to being a theater-maker.”
means a conventional narrative—
a vocabulary, a way of moving that Born in Wimbledon, in southwest London, he trained in kathak from the age of seven and became obsessed with being a better dancer than his equally talented sister. But he also loved dancing to Michael Jackson and trained as a contemporary dancer, forging a rich blend of styles and creating groundbreaking works such as Zero Degrees in collaborations and alone. Many commissions came his way, from creating and starring in Torobaka with the flamenco star Israel Galván to making pieces such as Vertical Road and Kaash for his own company and molding intricate narratives such as the autobiographical Desh, which explored his father’s origins in Bangladesh. He has also taken on other highprofile projects such as devising a solo for Guillem’s farewell tour at Christmas and fashioning a haunting contribution to the Opening Ceremony of the 2012 London Olympics. Another recent challenge was a full-scale version of Giselle for English National Ballet, which premiered last year. As he talks, you sense a longing for a time when choreographers had less on their plate. “Before, the artist just worried about the art. I miss that. Life has become fuller for everyone. Every five minutes you are fitting in things, otherwise you feel you are wasting your time. “There was a period in Japanese art when they started to empty the canvas just as in Europe everyone was filling
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7
3 1. Akram Khan’s Until The Lions 2. Ching-Ying Chien as the princess Amba in Until The Lions 3. Akram Khan on the Stanford campus
the canvas. We are filling the canvas,
performer. I may do little cameo
1930s. When you take something so
and that sense of space to reflect is
roles because I think I would be sick
sacred, you have to hold it carefully
missing. We are not choreographers
if I didn’t have a reason to go to a
so as not to drop it but at the same
any more, we’re politicians. That
studio each morning, emotionally
time you have to put your voice in.”
never used to be the case.”
and psychologically. But I would
While he acknowledges his fees are
rather people say, ‘Why are you
He has felt that Until the Lions and Giselle
stopping?’ than ‘Why aren’t you?’”
are companion pieces—variations on
high in dance terms, that doesn’t mean
similar themes. “I can’t separate them to
he can afford to take time off. “Doing
He laughs. But the wistfulness in his
a certain degree. They are interlocked.
well as an artist in dance is not the
tone vanishes when he returns to
It’s all about the woman,” he says, before
same as doing well in pop or football
talking about Giselle—in an entirely
heading off to create another duet of
or film,” he says. “Those are different
new version, with the original
revenge, love, death, and betrayal.
money brackets because then you can
Adolphe Adam music adapted by
take a year off because you have made
the contemporary composer Ben
a huge amount on one film. We don’t
Frost. “It is a big project,” he says.
operate on those terms. There is a
“I’m using most of the dancers in
culture here that thinks money is bad,
the company and I’m really excited
that it stops you from being an artist—
about that. I think the hugeness of
but actually money buys me time.”
it is that it’s really British. Britain owns Giselle, it’s been so special
After 2018, he will stop dancing as a
here, ever since Alicia Markova
solo artist. “I will retire as a full-time
started performing the role in the
27
Conversation with Akram Khan Mon, Oct 16 6:00 PM Encina Hall Until the Lions Fri, Oct 27 & Sat, Oct 28 7:30 PM Memorial Auditorium
P E T E R B RO O K
Six Degrees of Akram Khan
Classically trained in the north Indian dance form of kathak, Khan had his first big break at age 13, touring the world with legendary theater director Peter Brook’s epic nine-hour adaptation of the Mahabharata.
DA N N Y BOY L E
Akram Khan choreographed part of the Danny Boyle– directed London 2012 Olympic Games Opening Ceremony. The section—set to the voice of Emeli Sandé singing “Abide with Me”— featured 50 dancers, a nine-year-old boy, and Khan himself.
ANISH KAPOOR AND N I T I N SAW H N E Y
Kaash was Akram Khan’s first full-length work and premiered in 2002. Nitin Sawhney composed the music for the performance and Anish Kapoor designed the sets.
KYLIE MINOGUE
Khan choreographed a portion of Minogue’s 2006 comeback tour, Showgirl, set in an Indian temple, and he appeared as a huge projection behind her as she performed.
28
TIM YIP
Khan created a 21st-century version of the iconic ballet Giselle for English National Ballet in 2016, designed by the Academy Award–winning Tim Yip (Crouching Tiger, Hidden Dragon).
SY LV I E G U I L L E M
Khan and French ballerina Guillem performed together in Khan’s Sacred Monsters in 2006.
HANIF KUREISHI
In 2003, Khan and Kureishi cowrote and produced The God of Small Tales, featuring middle-aged and older women discussing motherhood and daughterhood through dance, movement, songs, and stories.
STEVE REICH
Khan and Reich collaborated on a dance setting of Reich’s 2005 composition Variations for Vibes, Pianos, and Strings. JULIETTE BINOCHE
In 2008, Khan cocreated and performed In-I, a “meditation on love, lust, obsession, and romance,” with the Oscarwinning actress.
29
ARTIST VOICES
Dvořák Paints a Tree By Rob Kapilow
One of the overriding
created in response to
publisher, Fritz Simrock.
have his publisher print his
themes of Stanford Live’s
previous art. A painter
Its title not only reflects
name as “Antonín” rather
programming this season
paints a tree not in response
Dvořák’s compositional
than the German form,
is the idea of voice. Where
to seeing a tree but in
and political ambitions,
“Anton,” as well as to have
does an artist’s voice
response to seeing another
it also shows Simrock’s
the titles of his pieces
come from? What are the
painting of a tree. Now
astute understanding of
printed in Czech as well
influences that shape an
the truly provocative part.
the contemporary classical
as German in his scores.
individual’s voice, and in
Weak artists, Bloom says,
music scene in Europe. For
what ways are individual
imitate their predecessors,
Dvořák, writing the Slavonic
Dvořák’s nationalistic
voices connected to
while strong artists
Dances was a political
fervor was, of course,
national identities? In
creatively misread them.
statement, a reaction
part of a much wider
against Austria’s dominance
European phenomenon.
terms of my three What Makes It Great? programs
Take the case of the work
of Europe’s political and
The enormous success of
this season, in what ways
that launched Dvořák’s
cultural landscape. Dvořák’s
Brahms’ Hungarian Dances,
did America shape or
career in 1878, the Slavonic
dances are purposefully not
published by Simrock in
influence Dvořák’s American
Dances for Piano. Though
Austrian dances—waltzes,
1860, had already shown
Quartet, Leonard Bernstein’s
there is clearly a creative
minuets, or Ländler—but
the public’s enthusiasm for
Broadway musicals, and
misreading of Brahms at
rather Slavonic dances
fundamentally Viennese
Duke Ellington’s jazz?
the heart of the work—
modeled on the dances of
music flavored with piquant
Brahms’ Hungarian Dances
Poland, Ukraine, Serbia,
nationalistic touches,
The literary critic Harold
were Dvořák’s model—the
and elsewhere. Writing
and Simrock’s decision to
Bloom has a fascinating if
influences on Dvořák’s
the Slavonic Dances was
commission the Slavonic
somewhat hermitic theory
newly emerging voice go
part of Dvořák’s lifelong
Dances was clearly a
about artistic influence,
far beyond that of simply a
struggle to establish the
response to Brahms’ earlier
which I will now hopelessly
precursor piece. The work
legitimacy of the Czech
success. One of the key
oversimplify. All art, he
was both published and
language and culture. He
differences between the two
says, is fundamentally
commissioned by Brahms’
spent years battling to
works was their relationship
30
Business, meet box office. to their source material. Put simply, Brahms’ dances
Encore connects your business to arts patrons wherever they are.
were settings of actual folk melodies while Dvořák’s were not. Dvořák captured the spirit of these melodies
Learn more at encoremediagroup.com.
but filtered them through his own extremely sophisticated, European compositional language without quotation or arrangement. Dvořák became famous when he began to bring all of himself to his music, when he stopped excluding the Bohemian folk elements from his work as being “not classical” and began
Pinewood is an independent, coeducational, non-profit,
including them. When he
K–12 college-prep school. Students benefit from small
came to America in 1892,
class size, challenging academic curricula,
however, a whole new set of influences both personal and musical inspired significant creatively misread America— how his three-year visit changed his voice—is the story of his American String Quartet and the story of our opening What Makes It Great? program of the season. We may all be influenced by our predecessors, personally and artistically, but it is how we creatively misread them that ultimately determines our voices.
Rob Kapilow’s What Makes it Great? With the St. Lawrence String Quartet Wed, Oct 11 7:30 PM Bing Concert Hall
K12 enrichment activities. through
changes in his music. How he
Passionate Expertise
and a wide choice of
High Academic Expectations
a respected and vital member of our educational community. We invite you to explore
Unlimited Exploration Grounded Moral Examples Confident Self-Expression
We offer an environment where each student is
the opportunity for your student to become a part of the Pinewood tradition of academic excellence. For more information, please visit our website.
www.pinewood.edu
SEP / OCT 2017
Behind the Scenes
One of the big changes you’ll notice at Bing Concert Hall this season is our new “end-stage” configuration, which optimizes both sound and sight lines for amplified shows. In this setup, every 1
patron gets a front or sidefacing view of the performers.
3
We asked our photographer
2
Joel Simon to takes some shots of the space during our recent Youssou N’Dour concert to give you a sense of what the room feels like. A little hint from the team at Bing—the side seats offer wonderful unobstructed views of the stage and bring you that much closer to your favorite artist. — C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
STAGE SEATING
SIDE VIEWS
YOUSSOU N’DOUR
Here’s an overview of the
Here are two views from the
The Senegalese superstar
end-stage configuration with
side-stage seating and the
test-drove our end-stage
the stage seating.
side terraces, both of which
setup at the Bing with an
offer unobstructed views of
African music blowout event
the stage close to the action.
on August 9.
32
“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. City National is The way up® for me.
Michael Tilson Thomas Conductor, Educator and Composer
©2017 City National Bank
Hear Michael’s complete story at cnb.com/Tuned2SF
CNB MEMBER FDIC
The way up.
®
Call (866) 618-5242 to learn more or visit cnb.com
Membership
SEP / OCT 2017
1
Student Voices Opportunities Abound for Artist Interactions Did you know that the
students will oversee all
all aspects of presenting
Stanford student sitting next
aspects of the performances,
the performing arts, from
to you just may have had
from booking to production.
marketing to campus and
a hand in crafting tonight’s
community engagement.
performance? As part of
Also this season, Stanford
This season, our three
its mission, Stanford Live
student ensembles will
fabulous interns are also
provides opportunities for
perform with world-renowned
contributing photography
every Stanford student to
artists on our stages. On
and writing for this magazine
engage with the arts, and
February 9, the Stanford
as well as for our website
students’ creativity in turn
Symphony Orchestra will join
and social media channels.
makes a vital contribution to
iconic vocalist and Rock and
our programs.
Roll Hall of Famer Darlene
And finally, we make the arts
Love, and on January 28, the
accessible to all Stanford
As part of our new cabaret
Stanford Chamber Chorale
students by offering tickets
series in the Bing Studio,
will join pianist Jeremy Denk
to performances starting
we’re partnering with the
and violinist Stefan Jackiw to
at a discounted price of
Stanford Concert Network to
perform music by Charles Ives.
$15, with student seating
present a six-part student-
Stanford Live’s student
reserved for even our most
curated series in which SCN
interns receive training in
in-demand performances.
34
2
3
4
Stanford Live’s student engagement opportunities are made possible through the generous gifts of individual donors and the support of all our Stanford Live members. To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu. 1 M A S EG O
2 DA N I S H S T R I N G Q UA RT E T
3 I S L A M I C VO I C E S
4 SONIC DIVERSITY
Masego’s freewheeling “Trap
Last fall, members of the
Also last fall, the Tunisian
Freshman Anna Wang
House Jazz” concert brought
Danish String Quartet joined
singer-songwriter Emel
plays the violin at the
a capacity crowd of students
Stanford students for some
Mathlouthi met students over
Anderson Collection as
to Bing Studio in February.
onstage sight-reading.
lunch to discuss the path that
part of a collaboration with
led her to become the “voice
members of the International
of the Arab Spring.”
Contemporary Ensemble.
35
Stanford Live Donors Stanford Live thanks the following donors for generously supporting the 2017–18 season. PRODUCING SPONSORS Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman The Hornik Family
PERFORMANCE SPONSORS Mary & Clinton Gilliland Stephanie & Fred Harman Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum
BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing Sharon & Edward Bullard Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Drs. Lynn Gretkowski & Mary Jacobson Stephanie & Fred Harman Leslie & George Hume
Michael Jacobson & Trine Sorensen Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Bonnie & Marty Tenenbaum
Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig Charlotte & George Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg David Wollenberg
BING DIRECTOR’S CIRCLE ($15,000–$24,999) Carol & Myles Berg Shawn & Brook Byers Marcia & John Goldman Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Sandra Magnussen Carrick & Andrew McLaughlin Linda & Tony Meier William Reller Condoleezza Rice Marian & Abraham Sofaer Madeline & Isaac Stein Karin & Paul Wick
BENEFACTOR ($5,000–$7,499) Fred Alvarez & Beth McLellan Alvarez Regina & Gerhard Casper
SUSTAINER ($2,500–$4,999) Keith Amidon & Rani Menon Jonathan, Frances, & Alison Axelrad Deborah & Jonathan Berek Celeste & Wendell Birkhofer James Canales & James McCann William Coggshall & Janet Littlefield Stanley Falkow & Lucy Tompkins Judy & Jerrol Harris Karen Hohner & Randall Keith Mary Ittelson Charlotte & Larry Langdon Judy Mohr & Keith Reeves Og & Ogina Ann Tsukamoto-Weissman & Irving Weissman Susan & David Young
BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (3) Felicity Barringer & Philip Taubman Luiz Barroso & Catherine Warner Alison & Joe Barta Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Diane & Stephen Ciesinski Carla Baird & David Crane Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey Phyllis & William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Lynn & James Gibbons Fred Grauer Ann Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Rick Holmstrom & Kate Ridgway Larry Horton & George Wilson Elizabeth & Zachary Hulsey 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 Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Nancy & Lawrence Mohr David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr
PARTNER ($1,000–$2,499) Anonymous (2) Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Gary & Carolyn Bjorklund Susan Zaroff Breyer Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Toni Cupal & Mike Volpi Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Anna Espinosa Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Leslie Hsu & Richard Lenon Lucie Jay Grace Kim Kay & Ed Kinney Iris & Hal Korol Jill & Bruce Bienenstock Sally & Charles Lannin Albe & Ray Larsen
36
Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes Joan Mansour Yoshiko Matsumoto & John Ryan Dick Miller & James Stutts Evelyn Miller & Fred Snively Betsy Morgenthaler Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Edward & Nadine Pflueger Robert & Shirley Raymer Laura Richardson Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Charles Sieloff Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Wai Yau Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (7) Bill Albright & Jeryl Hilleman Dorothy & Ted Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Therese Baker-Degler Corrine & Alan Barkin Marie & Douglas Barry Brigid Barton & Orrin Robinson Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Bernard Beecham & Cheryl Lathrop Ann & John Bender Mildred & Paul Berg Susan Berman & Leon Lipson Charlotte & David Biegelsen Matthew Bien & Grace Lee Stephanie Biorn Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Charles Bliss & Caroline Bowker Linda & Steve Boxer Prudence Breitrose Maude & Philip Brezinski Joan B. Brown Thomas Bush & Grace Sanchez Lise Buyer Thomas Byrnes Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching Ann Clark Holly & Andrew Cohen Mark Cohen & Jackie Pelavin Sheila Cohen & Richard Mazze Lisa K. Colburn Kalyani Comal & Arun Ramakrishnan Martha & Spencer Gates Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Jo & John De Luca
Richard De Luce Cornelia Dekker Donato Desopo & Marian Sagan Christina Reid Dickerson Harvey L. Dixon Carol Dressler Kathleen Dumas Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle Joan & Allan Fisch Shela & Stephen Fisk Barry Fleisher Diana & Freeman Ford Margaret Forsyth & Glenn Rennels Rona Foster & Ken Powell Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Margaret Gong Edward Goodstein Elizabeth & Jeff Grammer Brian Gray Sally Gressens & Lee Yearley Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Sara & Michael Hammond Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi Alyson & James Illich Sally & Rob Jackson Dorothy & Rex Jamison Leigh & Roy Johnson Robert Jones Martha & Michael Kahn Pamela S. Karlan Inge Keuppens & Marc Vanlerberghe Edie & Bob Kirkwood Barbara Klein & Stanley Schrier Phillip Klimke Renate Klipstas Christina Kong Maureen & Kerry Kravitz Nora & Charles Kruger Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith Sanford Lewis Adele & Mark Lieberman Marcia Linn & Jack Morris Laurel & Joe Lipsick Sherry Listgarten Kristen K. Lo Penny & John Loeb Teri Longacre Kathryn Naylor Low Liqun Luo Ruth Lycette
Emily Ma Kathy Mach & David Scherer Charlene & Dick Maltzman Allison & Nino Marakovic Sandra & Joseph Martignetti Marylin McCarthy Chris McKillop Penny & Jim Meier James & Victoria Merchant John Metcalfe Maureen Missett Jose Montoya David Moor Martha Morrell & Jaime Tenedorio James Murphy Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Kevin Osinski & Marc Sinykin Carmela & Eli Pasternak Nancy & Stephen Player Barbara & Warren Poole Mary & Matthew Powell Kitty & Lee Price Kathryn Pryor Kathleen Quinn Katherine & Gary Reback Richard & Karen Schneider Recht Rossannah Reeves Kyoko Robinson Diane & Joe Rolfe Amy Rosenberg & John Slafsky Maureen & Paul Roskoph Annette & William Ross Ann Rossi Elise & Jay Rossiter Diana & Philip Russell Bettina McAdoo & Gordon Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Chris Iannuccilli & Michele Schiele Paula & George Schlesinger Cora Schmid Sue Schmitt Nancy & Richard Schumacher Vandana & Arvind Sharma Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Ilze Silis Mary Ann Sing Hannah & Richard Slocum Cristina Valdes Smith Karen & Frank Sortino Susan Speicher Nancy Stanwood Barbara & Charles Stevens M. Carol Stevens & William Kay Judith Stewart Edward Storm Eleanor Sue Linda & Jeffrey Suto Rosalinda & Michael Taymor Carol & Christopher Thomsen Alicia Torregrosa & Stuart Weiss Connie Turkington Ann & John Varady Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Ben Wegbreit Karen & Rand White Mansie & Gary Williams Polly Wong Robert Wood
Marilyn & Irvin Yalom Mary H. Young Roy Zemlicka Jiecheng Zhang Selma Zinker
SUPPORTER ($250–$499) Anonymous Mary Bellack Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Nancy & Thomas Fiene Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Wendy McPherson Elyce Melmon Elisabeth Merkel Joan Norton Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton
STANFORD LIVE LEGACY GIFT
2017–18 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and visions, financial sustainability, communications and marketing, community outreach and education, and the overall arts branding at Stanford University. 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 David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews
Bing Concert Hall Donors
Audrey Avis Aasen-Hull §
BUILDING DONORS
INSTITUTIONAL PARTNERS
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
$100,000+ Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 The Nathan Cummings Foundation Drs. Ben and A. Jess Shenson Funds Ann and Gordon Getty Foundation National Endowment for the Arts $1,000–$9,999 Aaron Copland Fund for Music California Arts Council Kinder Morgan Foundation Western States Arts Federation Contributions listed are in support of the 2017–18 season and were received between 4/1/2017 and 8/1/2017. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or dmenona@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford/edu/give. § Deceased
37
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
NOV / DEC 2017
Calendar
Wed–Sun
NOVEMBER
DEC. 1–2
NOVEMBER 15–19
The Daisy Theatre
Wed
Ronnie Burkett, Theatre
NOVEMBER 1
of Marionettes
Chuck Klosterman and Simon Reynolds
DECEMBER
Fri–Sat
Fri–Sat
NOVEMBER 3–4
DECEMBER 1–2
Longing Lasts Longer
Betty Buckley
Penny Arcade
Sun
Sun
DECEMBER 3
NOVEMBER 5
Rolston String Quartet
Sundays with the St. Lawrence St. Lawrence String Quartet
Wed DECEMBER 13
Fri
A Chanticleer Christmas
DECEMBER 8
Sat
The Red Violin
NOVEMBER 11
Thu
Live score featuring
In My Mind: Thelonious Monk
DECEMBER 14
Lara St. John
Jason Moran and the Big Bandwagon
Happy, Joyous Hanukkah The Klezmatics
Sat DECEMBER 9
Sat
The Hot Sardines’
NOVEMBER 11
Holiday Stomp
Patricia Barber Trio
Sun
Wed
DECEMBER 10
NOVEMBER 15
Selected Shorts
Song of Lahore Sachal Ensemble
DEC. 9
NOV. 15–19
SINGLE TICKETS NOW ON SALE!
Presented by Stanford Live
LIVE.STANFORD.EDU OR 650.724.BING (2464)
Stanford University, 365 Lasuen Street,
Visit the Stanford Live website for updates.
Second Floor Littlefield Center, MC 2250
All programs and prices are subject to change.
Stanford, CA 94305
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
hours’ notice given to
and during intermission. For
live.stanford.edu/changes.
the administrative office.
complete hours, menus, and
Please send all requests to
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per
stanfordlive@stanford.edu.
wheelchair space, is available
Volunteer usher positions
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.
stanfordlive@stanford.edu.
Performance Venue Information Bing Concert Hall & Bing UN
Concert Hall Ticket Office AR
2
Frost Amphitheater
3
Memorial Church
4
Memorial Auditorium
5
Stanford Ticket Office
6
Anderson Collection at
BO RE
TU
I
R VE
MR D
SI
TY
AV
E TO
10
1N
Hall and Frost Amphitheater EL
CA
MIN
O
RE
CAMPUS DRIVE WEST
WAY
P
L WA Y
QUAD
Tressid Unioner
Z
Parking for Memorial Church
2 80
RO SERR A
ST
at the end of Palm Drive, on and on Lasuen Street.
P
Hoove Tower r
SERR
A ST
P
Directions For driving directions or
5
public transportation
BLVD
E RD
TO
ALPIN
JUNIPE
can be found along the Oval Roth Way, on Museum Way,
N
TA C RU
the Oval.
P
3
SAN
Lot and on Lasuen Street, Museum Way, Roth Way, and
LVE
VEZ
LOM
EN S T
F
Alum Centeni r
ORIA
D HIL L RD
MAIN
can be found in the Galvez S
T ZS
GA
P
2
4
SAN
Alumni Center
101
ST
Alumni Café, Arrillaga
P
RD
EA
F
RD
MEM
TO
VE
Walking Path
THE OVA L
P
RO
RI
---
STO CK F ARM
DE
D
Public Parking
CA
P
1
Little field Cente r
P
2
AR
S
P
B EM
PU
ROT P H WA Y
/8
AM
N
GAL VE LOT Z
LASU
EUM
ITA D R
PA L M
P
MUS
AL
C
Stanford University
P
DR
6 Canto r Arts Cente r
Parking for Bing Concert
GAL
1
TO
28
0S
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.
Alameda Berkeley Campbell Castro Valley Danville Fremont Hayward Lafayette Livermore Los Altos Los Gatos Menlo Park Mountain View
Oakland Palo Alto Pinole Pleasanton Portola Valley Redwood City San Jose San Leandro San Pablo San Ramon Santa Clara Stanford Walnut Creek
We put good health center stage. And in your neighborhood. With our expanded locations, access to exceptional health care is closer than ever—whether you live in the Peninsula, South Bay, or East Bay. Supported by one of the best hospitals in the nation, our connected team of primary care doctors and specialists are near where you work, live, and play.
For more information, call 844.394.6907 or visit stanfordhealthcare.org/primarycare