Aki Kaurismaki's Highly Original Oeuvre Is Featured in a Bamcinematek Retrospective

Home , Los Lobos, The Man Without a Past

June 2003 2003 Spring Season

Cecily Brown , Figure in a Landscape, 2002

BAM Spring . ENe DiR E Season sponsor: Altna I ~ /\ IVI bill Contents June 2003 Ghost Tales 10 The legendary Ingmar Bergman mixes a little Strindberg with his Ibsen for his remarkable production of Ghosts. By Stan Schwartz A Hot Happening 12 BAM's annua l Rh ythm & Blues Festival at MetroTech serves up such musical legends as Los Lobos, Mighty Clouds of Joy, and Jimmy Cliff. By Brian Scott Lipton A Strong Finnish 30 Finnish director Aki Kaurismaki's highly original oeuvre is featured in a BAMcinematek retrospective . By Leslie (Hoban) Blake The It List 4 Fashion 6 Program 9 Upcoming Events 28 Top, Steel Pulse, Rhythm & Blues Festival at Metro Tech. BAMdirectory 29 Bottom, Juha , dir. Aki Kaurismiiki. Photo, Marja-Leena Hukkanen Food 36 Co\/er Artist Cecily Brown was bern in 1969 in London. She earned a BA in Fine Arts at the Slade School of Art, and a B-TEC Diploma in Art and Design at Epsom School of Art in Surrey, England. Brown is represented by Gagosian Gallery (New York and Los Angeles), where she has had annual solo exhibitions since 1999. Her work has been featured in solo shows at Victoria Miro Gallery (London), Contemporary Fine Arts (Berlin), and Deitch Projects (New York). Brown has participated in a number of group shows at locations including Museum fur Moderne Kunst (Frankfurt am Main); Center on Contemporary Art, Seattle; P. S. 1 Contemporary Art Center, Long Island City, Cecily Brown NY; Barbara Gladstone Gallery, Jessica Fredericks Gallery, and David Figure in a Landscape, 2002 Zwirner Gallery (New York City), among others. Brown's short animated Oi l on linen, 80" x 80" film, Four Letter Heaven , premiered at the Telluride Film Festival. Her work Courtesy of Robert McKeeever/ is in public collections including the Solomon R. Guggenheim Museum Gagosian Gallery (New York), Albright-Knox Art Gallery (Buffalo, NY) , and The Tate Gallery For BAMart information, (London), and is the subject of several books and catalogues, including contact Monika Wunderer at essays by Klaus Kertess and Stephan Schmidt-Wulffen. Brown's first muse 718.636.4101 or um solo exhibition will take place at the Hirshhorn Museum and Sculpture [email protected] Garden, Washington, DC. Her new work will be shown at a solo exhibition at Gagosian Gallery, Los Angeles, in early spring this year.

Angela Kovacs, Jan Malmsjo, Pernilia August, Jonas Malmsjo. Photo: Bengt Wanselius By Stan Schwartz As a major director of Ibsen (BAM-goers will recall Bergman's Peer Gynt and his Inevitably, the subject turned to ghosts. remarkable A Dol/'s House, starring Ms. August), it seems only logical that he should "During rehearsals, Ingmar was always 'talking' now take on Ghosts. When Ibsen's blistering to Ibsen. He was always afraid Ibsen would drama of dark family secrets premiered more not like what he'd done to his play and every than a century ago, it caused an immediate time something went wrong, he'd say 'It's the uproar for its unapologetic excavation of the ghost of Ibsenl He doesn't like this!'" moral corruption and hypocrisy festering just beneath the surface of Norwegian bourgeois The speaker was the great actress Pernilla respectability. It wasn't just a question of August; Ingmar, of course, is Ingmar attacking the sanctity of marriage or the clergy Bergman; and the rehearsals were for the - Ibsen had the temerity to add syphilis and Royal Swedish Theater's acclaimed production hints of incest into the mix.

It wasn't just a question of attacking the sanctity of marriage or the clergy Ibsen had the temerity to add syphilis and hints of incest into the mix.

of Henrik Ibsen's Ghosts, which visits BAM 's Nowadays, it's impossible to recreate the Harvey Theater from June 10- 14. As a sense of outrage that initially greeted Ghosts , long-time Bergman stage and screen regular, and Bergman understandably takes another August is no stranger to the working meth approach. Working from his own translation, ods-and mind-of the legendary Swedish the director has, to quote his afterword to director. Which may be why on this cold, that translation , "taken out huge sheet gray January day in Stockholm, she appeared metal shears and cut to pieces the Ibsen quite comfortable with the notion that the iron corset." playwright's ghost might be haunting the rehearsal halls of Sweden's Royal Dramatic That's only the half of it. Bits of dialogue Theater. from two Strindberg plays, The Pelican and Ghost Sonata, have been inserted , and most

10 Ghost Tales audaciously, a wholly-original scene written by Bergman has also been added. No wonder the Swedish master feared the angry reprisals of Ibsen 's spectre.

The key to Bergman's vision, naturally, is Mrs. Alving herself, whom the director sees as "a Nora who never slammed the door- both victim and executioner, sophisticated liar, and merciless truth-teller at the same time."

As it happens, August had never played Mrs. ~ Alving before, but having already provided .2 ~ Bergman with a truly stunning Nora, she c: ~ understood the director's comparison implicitly. "@> "I didn't have any set idea of Mrs. Alving, [butl .l5 the first thing Ingmar told me was she's like a ~ big sister to Nora and that was the first thing to "- help charge up my imagination," says August.

"'<~ .!l! Bergman's rethinking of Ibsen's play is hardly E limited to textual cuts and additions. Equally c1:' striking is the evening's distinctive tone. For years back will notice very specific and deliberate a playwright traditionally associated with visual cross-references between these two naturalism, Bergman's take on Ibsen abounds productions, not least of which is the ominous with heightened expressionistic touches, from presence yet again of Jonas Malmsjb. Th e the stylized color palette to the dream-like young actor now plays Osvald, Mrs. Alving's quality of the Alving household. There is also son who is dying of syphilis. Sporting ghostly the production's generally elevated emotional white makeup and a blood-red scar on his pitch, culminating in a harrowing final scene in forehead, Malmsjb's Osvald is clearly his which Bergman makes shockingly explicit what character in Ghost Sonata , now pushed to even I bsen on Iy hinted at. darker depths of physical and spiritual ruin. The production has a harrowing final scene in which Bergman makes shockingly explicit what Ibsen only hinted at.

Taken altogether, these theatrical strategies For her part, Pernilla August could not venture strike one as less Ibsen-esque as, well, a guess as to which playwright Bergman might Strindbergian. And that's hardly surprising: feel closer to. But with infectious enthusiasm, if there's one playwright even more closely she offered this: "When you work with Ingmar associated with Bergman than Ibsen , it's the Bergman, Ibsen is so close and Strindberg is so great mad Swede. And following Bergman's close. And when Ingmar says something like stage career over the years , theater-goers may 'I'm afraid Ibsen is not happy with this,' he have discerned a kind of tug-of-war as to which really believes it and it becomes so real. I feel playwright has exerted a greater pull on the it too. It's not scary, it's beautiful in a way." director. New York audiences are lucky to be able to Judging from the current production, it's a tie. share in that beauty. ,. Indeed, Bergman has come right out and called the play Ibsen's Ghost Sonata . Indeed, BAM Stan Schwartz is a freelance writer and critic goers who saw Bergman's Ghost Sonata a few specializing in Swedish theater and cinema.

11 R&B Festival

A Hot Happening decade, the caliber of acts has become stronger and an outdoor covered stage was built By Brian Scott Lipton primarily to protect the performers from the sun-but one thing has remained constant: Hot time, summer in the city. Indeed. And the series is still a community-based event. there is no hotter spot than the Metrotech Commons at the corner of Flatbush and Myrtle "I want these shows to feel intimate, like a Avenue. Every Thursday between June 5 and neighborhood happening," says Danny August 7, the world's greatest Rhythm and Kapilian, who has been the event's producer Blues artists gather there for the BAM Rhythm since 1995. "It's one reason we don't do any & Blues Festival at MetroTech. advertising outside the area."

For the past eleven years, these outdoor concerts Kapilian began his association with BAM in -held from noon until 2pm-have provided 1985- working with guest artist Twyla Tharp thousands of Brooklynites, primarily a mix of and has been a longtime Brooklyn resident. So nearby office workers and residents, with the he knows his audience. "I saw MetroTech chance to hear the top music makers of all being built, and I know my neighbors," he time. Artists who have graced the Metrotech says. "In some of the early years, we included stage include Percy Sledge, Darlene Love, jazz and world music acts, but the acts people Harold Melvin and the Bluenotes, Lesley Gore, most responded to were the true R&B greats. " Sam Moore, Ruth Brown, Nona Hendryx, Dr. John, Bo Diddley, Ben E. King and Wilson Of course, the term Rhythm and Blues crosses Pickett, to name just a few of the approximately many categories, and this year's festival 100 stars who have left audiences hooting and includes them all: the acoustic blues of guitarist hollering. (The series has never hosted any Corey Harris; the New Orleans flavor of the artist more than oncel) Dirty Dozen Brass Band ; the 1970s funk of Zapp; and the contemporary stylings of Floetry, The festi val was conceived as an outgrowth of Donnie, and Martha Redbone. (See box for the MetroTech Downtown Community Fund, complete schedule.) which was co-founded by BAM. Over the past

12 R&B Festival

"I am really proud of this season, I think it's Yet their biggest claim to fame is being the first the best one we've ever put together," says gospel group to appear on the hit TV series Kapilian. "I really tried to cover as many artistic Soul Train. "My daddy, who was a preacher, bases in the realm of R&B as possible ." •. got upset with us because everyone got up and started dancing to our song, 'Mighty High, '" Kapilian is especially pleased that this year's recalls the group's lead singer and co-founder line-up features three acts that have long been Joe Ligon. "But we've always been a daring on his "wish list" for this series. First and fore group, always willing to try something as long most, on June 19, are the Grammy-winning as it's still gospel. In our early years, Motown band Los Lobos. "They are one of the greatest wanted to convert us to an R&B group, but we bands in America, hands-down," says Kapilian. wou ldn't do it." "I just saw them again at Jazzfest in New Orleans, and they were even more amazing Ligon is especially pleased that this concert than usua l. People who on ly know them from will allow him to reach his fans in New York . 'La Bamba' don't know what they're missing." "It's such a specia l, different place to play, and we don't get to come here too often. It's not Closing the series on August 7 is reggae super like the old days when we went to the Apollo star Jimmy Cliff. "I have been after Jimmy for every year." five years to do this series and I am so happy the timing has fina lly worked out. What can More than ever, Ligon is finding audiences you say about Jimmy other than he's a true around the country receptive to the message of legend?" says Kapilian. "Reggae artists have gospel. "When we started out, our audiences really drawn our biggest audiences, which is were really on ly elderly people. And when disco why we are thrilled to have Steel Pulse on the came in, it seemed like everyone had left calendar this year. It feels like the entire gospel for good. Fortunately, we were able to Brooklyn Caribbean community comes out to come up with a contemporary gospel sound, hear great reggae music." and other groups jumped on that bandwagon, so we've gotten the younger audiences back. And on Ju ly 24, audiences will get to hear In fact, I wou ld say the gospel business is what Kapi lian rightly ca lls "the greatest gospel booming right now." _ group ever," the Mighty Clouds of Joy. The group was founded in Los Angeles back in In addition to being the editor of ENCORE/BAMbill, Brian Scott Lipton contributes frequently to many 1959; since then they have done it all: played national and local publications, including Forbes, the White House, been inducted into the The New York Pos~ and W, on topics such as Gospel Music Hall of Fame , shared stages with performing arts, fashion, and cuisine. He is also an everyone from Aretha Franklin to the Rolling adjunct professor at the Metropolitan College of Stones, and won three Grammy Awards. New York. BAM Rhythm & Blues Festival July 3 Steel Pulse at MetroTech July 10 Dirty Dozen Brass Band July 17 Double bill! Thursdays, June 5-August 7 Noon- 2pm Donnie / Martha Redbone July 24 Mighty Clouds of Joy July 31 Fred Wesley and the JB's June 5 Zapp August 7 Jimmy Cliff June 12 Floetry June 19 Los Lobos Check www.bam.org for the latest information. June 26 Corey Harris

13 The Camnaigo for BAM The Campaign for BAM was initiated in 1992 to create Phase Two (1996-2000) combined operating, endow Brooklyn Academy of Music's first endowment. Phase One ment, institutional development, and building renovation (1992-1995) established a $12 million nucleus which needs into one unified effort and achieved the endowment has provided BAM with a strong financial foundation and goal of $20 million. The continued growth of the endow supports all BAM operations through annual distribution ment is critical to the success and future of BAM. Phase of interest income. Three (2001-2005) of the Campaign is now underway with a goal of expanding the endowment to the level of $40 mil lion. BAM sincerely thanks the many contributors who have made major gifts to the endowment effort. Endowment

$5,000,000 and above $250,000 and above Mr. & Mrs. Ame Vennema The Marion Petschek Smith The Peter Jay Sharp The Bohen Foundati on Ve ri zon Communications Fund for Choreographers Foundation William I. Campbell & The Isak and Rose Judge Franklin R. Weissberg Lila Wallace-Reader's Christine Wachter Weinman Foundation & Judge Marylin G. Digest Endowment Fund The Charles & Valerie in honor of Madame Diamond (CC) for Community, Diker Dance Lilliana Teruzzi Educational, & Public Endowment Fund $10,000 and above Affairs Programs The Horace W. Goldsmith $50,000 and above Alfa Mechanical Corp. Foundation Robert & Joan Catell Bloomberg News Radio $1,000,000 and above Alex Hillman Family Kathleen & Neil Chrisman Mr. & Mrs. Norman J. Altria Group, Inc ./Next Foundation Mr. & Mrs. Henry Buchan Wave Forward Fund Maxwell Family Fund in Christensen III Ms. Anne Delaney Doris Duke Charitable Community Funds, Inc. European American Bank Beth Rudin DeWoody Foundation The Andrew W. Mellon HSBC Bank USA Dwight & Ann Ellis Emily H. Fisher Foundation Rita J. & Stanley H. Kaplan Gail Erickson & Christa Rice Richard B. Fisher & Foundation, Inc. Mallory & Elizabeth Factor Jeanne Donovan Fisher $100,000 and above KeySpan Foundation Joan Fields Judith R. & Alan H. Michael Bailkin, Marvin Mr. & Mrs. Edgar A. Lampert Mrs. M. Derene Frazier Fishman Levine, Jesse Masyr, John Lipsky & Mr. John M.Goldsmith The Ford Foundation Fund David Stadtmauer Zsuzsanna S. Karasz Ms. Regina M. Griffin to Support Collaborative The Harkness Foundation Evelyn & Everett Ortner Jane Holzka & Mark Winther Creativity Among for Dance Arthur Ross Foundation Mr. & Mrs. Richard Hulbert U.S. Artists Francena T. Harrison Lindsay & Brian Shea William Kistler The Howard Gilman Performance Fund Kelvin & Kathryn Kostohryz Foundation William Randolph Hearst $25,000 and above Albert & Joan Kron ick Bruce C. Ratner Endowment for Amanda M. Burden Eric & Amala Levine The Peter Jay Sharp Fund Education and Gerard Conn & Carol Yorke Mr. & Mrs. Eugene H. for Opera and Theater Humanities Programs Brendan & Barbara Dugan Luntey The Starr Foundation Independence Community Mr. & Mrs. G. Martin Fell Mr. Jeffrey l. Neuman Bank Forbes, Inc. Jonathan Newcomb $500,000 and above Annie Leibovitz & Studio William & Mary Greve John Michael Powers Jr. Michael Bancroft Goth Leo Burnett, USA Foundation Mr. & Mrs. David Puth Endowed Annual Sarah G. Miller & Mr. & Mrs. Sidney Kantor Susan & Kanti Rai Performance Fund Frank l. Coulson Miriam E. Katowitz & The Silverweed Foundation Mary & Jim Ottaway Jr. The Morgan Stanley Arthur J. Radin Mr. James Sollins in honor of Ruth Community and Rosemarie & Francis J. Liliane & Jose Soriano Blackburne Ottaway Educational Fund Kazeroid Barbara H. Stanton Rockefeller Brothers Fund J. P. Morgan & Co. Charlotte & Stanley Kriegel Nora Ann Wallace Jonathan F. P & Incorporated Ticket Assistance Fund Terilynn & Jeff Walsh Diana V.C. Rose The Jerome Robbins W. P McMullan & Charlene Magen Weinstein Foundation Rachel McPherson May & Samuel Rudin Robert C. Rosenberg As of May 1, 2003 Family Foundation

The Ford Foundation Challenge

In May 2000 The Ford Foundation awarded BAM a new May 2005. Most importantly, the matching funds must be $1 million grant to support the endowment campaign, to raised from new and/or increased gifts from individuals. establish a cash reserve, and to help fund the commission ing and presentation of new works by American artists. Please help BAM to achieve the matching goal by calling BAM Membership at 718.636.4194 and making a special To earn the $1 million grant from The Ford Foundation, pledge over and above your current giving to BAM. BAM must raise matching funds totaling $3 million by The Camoaigo for BAM BAM sincerely thanks its many contributors listed below whose notation (E). BAM major individual supporters are noted gifts over the past year are greatly appreciated. This listing (NS) for Next Society. 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Melillo President Executive Producer presents Les Boreades By Jean-Ph ili ppe Rameau Approximate BAM Howard Gilman Opera House running time: June 9, I I, 13, 2003 at at 7:30pm; June 15 at 2pm 3 hours and 25 Paris National Opera minutes with Les Arts Florissants two intermissions Conducted by William Christie Di rected by Robert Carsen Choreography by Edouard Lock Les Boreades , posthumous work by Jean Philippe Rameau, 1764. Source: French National Library Manuscript, Paris, Res . Vmb Ms4 © 1982, Alain Vi llain Editions Sti l Paris Set and costume design by Michael Levine Lighting design by Peter van Praet and Robert Carsen Soloists Anna Maria Panzarella (soprano, Alphise) Paul Agnew (tenor, Abaris) Jael Azzaretti (soprano, Sem ire) Hanna Bayodi (mezzo-soprano, A Nymph & Polymnie) Toby Spence (tenor, Ca li sis) Laurent Naouri (ba ritone, Boree) Jean-Sebastien Bou (ba ritone, Borilee) Nicolas Rivenq (baritone, Adamas/Apollon) TBA (L'Amour) Libretto attributed to Louis de Cahusac Engl ish Ti tles edited by Chris Bergen Translation by Catherine Attwood, revised by Michael Seiler Copyright 1998, Editions STIL Paris BAM 2003 Spring Season is sponsored by Altria Group, Inc. Leadership support for BAM Opera is provided by Alberto Vilar, Honorary Chairman, BAM Opera, and The Andrew W Mellon Foundation. Leadership support for BAM French Programs is provided by The Florence Gould Foundation. The lead sponsor for Les Boreades is American Friends of the Paris Opera & Balle!. with major support from The Annenberg Foundation. Additional generous support is provided by Mrs. Edmond J. Safra, Grand Marnier Foundation, and Francena T Harrison Foundation Trust. Major support for Les Boreades is provided by Credit Lyonnais, and Susan Baker and Michael Lynch, with additional funding from the Cultural Services of the French Embassy in New York and Association Franr;aise d'Action Artistique (AFAA). Additional support for BAM Opera is also provided by The Francena T Harrison Performance Fund, The Isak and Rose Weinman Foundation, Inc. , The Eleanor Naylor Dana Charitable Trust, Ann and Gordon Getty Foundation, and Vincent Astor Foundation. Les Arts F/orissants is funded by the French Ministry of Culture, the town of Caen, and the Conseil Regional de Basse-Normandie. IMERYS is associate partner of Les Arts Florissants. Les Arts Florissants Musical Director Viola Ruth Unger William Christie Galina Zinchenko Charles Zebley Samantha Montgomery Executive Director Marcial Moreiras Oboe Luc Bouniol-Laffont Michel Renard Pier Luigi Fabretti Orchestra Jean-Luc Thonnerieux Olivier Clemence Anne Weber Michel Henry Violin Machiko Ueno Hiro Kurosaki (first violin) Violoncello Jean-Paul Burgos David Simpson (continuo) Clarinet Bernadette Charbonnier Elena Andreyev Lorenzo Coppola Patrick Cohen Emmanuel Balssa Daniele Latini Catherine Girard Ulrike Brutt Mihoko Kimura Paul Carlioz Bassoon Florence Malgoire Brigitte Crepin Claude Wassmer Isabel Serrano Marion Middenway Ekhart Lenzig Peter Van Boxelaere Alix Verzier Philippe Miqueu George Willms Rhoda-Mary Patrick Viola da gamba Myriam Gevers Anne-Marie Lasla (continuo) Horns Roberto Crisafulli Claude Maury Sophie Gevers Demoures Contrebass Helen Macdougall Simon Heyerick Jonathan Cable (continuo) Guya Martinini Richard Myron Percussion Valerie Mascia Marie-Ange Petit Martha Moore Flute Michele Sauve Serge Saitta Harpsichord Ruth Weber Yifen Chen Beatrice Martin (continuo)

Chorus Brani slav Rakic David Le Monnier Bruno Ren hold Claude Massoz Soprano Marcio Soares Christophe Olive Solange Afiorga Jeffrey Th ompson Jea n-Marc Savigny Hanna Bayodi Renaud Tripathi Shadi Torbey * Veronique Chevallier Frits Vanhulle Fabienne Colson Tenor Sophie Decaudaveine Karim Bouzra * Soloist Nicole Dubrovitch Alain Brumeau Lea Hanrot Christophe Ferveur Musical assistants Brigitte Pelote Patrice Henry Beatrice Martin and Anne Pichard Th i ba ud Lenaerts Jeremie Rhorer Isabelle Sauvageot Michael Loughlin-Smith Marie-Benedicte Souquet Ni colas Maire Chorus master Jeannette Best Pasca l Ri chardin Fran c;o is Bazola Lei la Ziassi Maurizio Rossano Rehearsal accompanist High Tenor Bass Bertrand Cuiller Jean-Xavier Combarieu Fabrice Chomienne Sebastien Fournier Laurent Collobert Orchestra and choir manager Arnaud Le DO Marc Fouquet Geoffroy Guirao Marc Molomot Pierre Jeannot ~\~ Program I\lotes

Les Boreades (1763), Rameau's final opera, was commissioned by the French Royal Academy of Music. However, the work was never performed at the time. It is often said that Rameau 's death , in September 1764, was the cause of this deferment. However, other reasons may well have been at play, including a desire to censure the subversive nature of Cahusac's libretto, which was drawn from the turbulent mythical love affair between Boreas, God of the North Wind and Orithya, daughter of the King of Athens . In his libretto, Cahusac, himself a freemason, denounced the abuse of power against the freedom of the individual and set out a progressive philosophy which is summed up by the nymph's rebellious cry in act II: "There is nothing more precious than freedom." In terms of the music's language and form, Rameau adapted the lyric tragedy to new dramatic needs achieving both variety and unity through the complex overlapping of simple recitatives, accompanied recitatives and spoken arias. In a similar vein, he integrated "ariettes" into the action, entrusting four of them to the principal characters thus giving them an essential role in the drama and breaking with the tradition of the first lyric tragedies. In short, doing away with the specific constituent elements of so-called "Baroque" music, Rameau opened the way to the reforms that Gluck would institute some years later with his version of the legend of Orpheus. Aside from a few performances of certain extracts and some concert presentations, the first complete stage perform ance of the work did not take place until July 21, 1982, at the Aix-en-Provence Festival. This production of Les Boreades was first performed at the Paris National Opera (Palais Garnier) on March 28, 2003.

Synopsis Act I Fate obliges Queen Alphise of Bactria to marry one of the two sons of Boreas, God of the North Wind. However, she is secretly in love with Abaris, a man of unknown descent brought up by the high priest of Apollo. The Queen's two suitors, Calisis and Borileas, press her to come to a decision.

Act II Abaris confesses his love for Alphise to the high priest Adamas but believes that his feelings for the queen are without hope. Adamas encourages him to persevere. Alphise visits the temple of Apollo and tells Abaris of a dream she has had in which the God Boreas lays waste to her kingdom. Abaris's emotion betrays his true sentiments for the queen. She, in turn, confesses her love for him. The court arrives. Once again, the two Boread princes each declare their love for her. Eros appears and gives Alphise a magic arrow with the power to ward off all misfortune. He announces that although he approves of her choice, only a descendant of Boreas has the right to marry her.

Act III Alphise and Abaris doubt that their love will ever be able to flourish. Faced with the impatience of a people ever eager to know the name of their new king, Alphise decides to abdicate rather than renounce her love for the man of her choice. Calisis and Borileas invoke the fury of Boreas, who in turn unleashes the winds of his wrath . In the midst of a violent storm , Alphise is abducted by the Boreads.

Act IV Overcome with despair, Abaris ponders self-sacrifice by fire but Adamas implores him to fly to the rescue of his beloved.

Act V Alphise, now held captive in Boreas' underground kingdom , is ordered by the latter to choose between one of his sons or slavery. Calisis and Borileas continue their efforts to woo her, but the Queen would sooner undergo torture than yield . Thanks to the magic arrow, Abaris manages to calm the fury of the winds. Apollo then appears. He reveals that Abaris is his own son by a nymph of Borean blood. As a result, there remains no obstacle and Alphise and Abaris can legitimately be married.

- Robert Carsen 2Ju Note 00 Les Arts Florissaots It was the spring of 1987 and I was in Paris mood of this remarkable sequence. Literally, with my fourteen-year-old son, John, and we tears would spring to my eyes. And I can still took a taxi to Versailles to see (and hear) Atys , hear Jean-Paul Fouchecourt, Bernard Deletre, Lully's opera which had caused such a stir and the others spinning their beautiful music. in Paris. We arrived at Versailles and asked directions at a small restaurant and were told A friend and music critic for The Wall Street that the performances were over. Surprised and Journal, at that time, Dale Harris told me later disappointed we wandered towards the gardens that he thought Atys was the most avant-garde and discovered people in black-tie and gown production he had seen that year (1989). I am walking towards a building which turned out to not sure that I agree with him, but I understood be the theater. We entered and inquired as to what he meant. What William Christie, Jean what was happening and were told that indeed Marie Villegier, Patrice Cauchetier, and Francine there was to be a performance of Atys, however Lancelot had put together was a contemporary it was a private performance for the corporate production totally available to a modern sponsor and guests. I was insistent that we audience, disguised as a period piece. It had come all the way from New York for Atys was indeed a miracle. and since this would be its last performance at that time, we must be let in. It was also the beginning of a relationship with William Christie and Les Arts Florissants that We were. And we were given two seats in the continues today. With Rameau's Les Boreades, first or second row (I am not sure which) all it will mark th e thirteenth time that Les Arts the way over on house left. Th ey couldn't have has come to the Brooklyn Academy of Music. been more perfect. Year after year, those performances have been among the most joyous given at BAM. Bill The opera started . I had a complete view of the Christie and Les Arts Florissants have acquired orchestra and a close-up side view of William a most loyal and devoted audience in New York Christie in the pit as he led his forces. I noticed City. For me, there are many moments that I immediately the extraordinary rapport between remember with pleasure. To name a few: the Maestro Christie and the orchestra composed witty underworld scene in Rameau 's Hippolyte of fairly young musicians, and then that same et Aricie, as well as the hunting party scene in rapport with singers on the stage. In fact Act IV; the beauty of Handel's Orlando , both whenever, during the performance, I glanced visually and musically; the rollickingjoie de at Christie, he was smiling, seeming to vivre of Purcell's King Arthur; and the delicacy embrace both the musicians and the singers. and tenderness of Monteverdi's" Ritorno d'Ulisse in Patria. As for the artists, there are I was enjoying the light-hearted interplay of the many that thrilled me, too many to mention, prologue, when suddenly I noticed a single however there is one that I would like to single dark figure walking slowly downstage center, out, the marvelous American singer, Lorraine he stopped and at that moment a black curtain Hunt Lieberson, who was so remarkable as tied to a narrow balcony surrounding the stage Charpentier's Medee and as Phedre in Hippolyte suddenly, shockingly dropped, signalling the et Aricie. beginning of the story. And then it began , "Allons, allons, accourez tous, Cybele va And one failure I would like to cite. There was descendre." I was a goner. My lovely son had a performance in Aix en Provence, years ago, put his head on my lap and was blissfully of Charpentier's David et Jonathos. It was an asleep, and I was bolt upright, blissfully awake. afternoon concert held in the Cathedral and I remember that it was very hot. No matter. I During the performances of Atys at BAM (four in was enthralled, and determined to give New 1989 and four in 1992), I would particularly Yorkers the opportunity to hear this extraordinary await the dream sequence in Act III when musi work. As things go, it never happened. Oh cians, colorfully dressed, in contrast to the well- you can't win them all! somber costumes previously, enter the stage slowly to accompany the singers and dancers, - Harvey Lichtenstein, February 2003 while Atys sleeps on the stage. I would often stand in the back of the house and virtually hear Harvey Lichtenstein was BAM's president and the hush of the audience as it succumbed to the executive producer from 1967-1999. Who's \Nho

Jean-Philippe Rameau was born in Dijon in works by Rameau (Les Indes Galantes in 1990 1683 and died in Paris in 1764. At the age of and 1999, at BAM in 1993; Hippolyte et eighteen, following the example of his father, Aricie in 1996, at BAM in 1997), Charpentier he left for Italy to become a musician, but only (Medee in 1993, at BAM in 1994), Handel remained there a few months. From 1702, he (Orlando in 1993, at BAM in 1996; Acis and was the organist at, successively, the cathedrals Galatea in 1996; Semele in 1996, and Alcina of Avignon, Clermont, and Notre-Dame de in 1999), Purcell (King Arthur in 1995, in clud Dijon, the church of the Jacobins in Lyon, and ing at BAM ), Mozart (The Magic Flute in 1994 the Novitiate of the Jesuits and Sainte-Croix de and Die Entfuhrung aus dem Serail at the la Bretonnerie in Paris , where he finally settled Opera du Rhin in 1995) and Monteverdi (the in 1722. There, he made the acquaintance of highly praised production of II Ritorno d'Ulisse the Farmer General, Le Riche de la Poupliniere, in Patria at Aix-en Provence in July 2000, at who became his patron for a quarter of a BAM in 2002, and on tour). Les Arts century, lodging him and entrusting him with Florissants has performed concerts at BAM in the orchestra that he had created and which he 1991,1993,1994,1998,1999, and 2000, supported. Through him, Rameau met his first in addition to previously noted engagements. librettists, the Abbe Pellegrin and Voltaire, with The ensemble has collaborated on projects with whom he wrote Samson-never performed, but renowned stage directors such as Jean-Marie the music would appear in other works. From Villegier, Robert Carsen, Alfredo Arias, Pier then until 1757, lyric tragedies, opera-ballets, Luigi Pizzi, Jorge Lavelli, Adrian Noble, Andrei and pastorals followed one after the other, Serban, and Graham Vick, as well as with sometimes two or three per year. Apart from choreographers Francine Lancelot, Beatrice Les Indes Galantes (1745), the best known Massin, Ana Yepes , Shirley Wynne, Maguy being Hippolyte et Aricie (1733), Castor et Marin , Fran~ois Raffinot, and Jiri Kylian, to Pollux (1737), Dardanus (1739), Pia tee name but a few. Les Arts Florissants has an (1745), and Zoroastre (1749). His last opera, equally high profile in the concert hall and on Les Boreades (1764), was never performed disc, as its many acclaimed performances during his lifetime. Rameau was also the illustrate. The repertoire includes concert author of numerous pieces for keyboard and performances of operas (Zoroastre, Les fetes many theoretical works (including the famous d'Hebe by Rameau , Idomenee by Campra, Traite d'Harmonie) which saw him engage, Jephte by Monteclair, II Sant'Alessio by Landi , towards the end of his life, in an increasingly Orfeo by Rossi), secular chamber works fierce debate with Rousseau and d'Alembert. (Acteon, Les plaisirs de Versailles, OrpMe aux Enfers by Charpentier, and Dido and Aeneas by Les Arts Florissants, the vocal and instrumen Purcell), and sacred music (the Grands Motets tal ensemble, is one of the most well known by Rameau , Mondonville, and Desmarest; and respected early music groups in the world. Handel oratorios such as The Messiah, Israel in Performing in an historically informed manner, Egypt and Theodora), not to mention a large the ensemble was founded in 1979 by the number of choral works. Les Arts Florissants Franco-American harpsichordist and conductor has also touched on the contemporary reper William Christie, and takes its name from a toire with the creation of Motets III-Hunc short opera by Marc-Antoine Charpentier. Les igitur terrorem by Betsy Jolas on the occasion Arts Florissants was largely responsible for the of their 20th anniversary. The ensemble has an resurgence of interest in France in seventeenth impressive discography. After making more and eighteenth-century French repertoire, and than 40 recordings for Harmonia Mundi, Les in European music of this period more general Arts Florissants signed a contract with Warner ly. This was repertoire which had, for the most (Erato) in 1994 and has since recorded over part, been neglected, (much of it unearthed 20 discs, many of which have won awards, from collections in the Bibliotheque Nationale including the Gramophone Award which they de France), but which is now widely performed have received four times. They also signed a and admired. Since the acclaimed production contract with Virgin Classics in 2002. For more of Atys by Lully at the Opera Comique in Paris , than ten years Les Arts Florissants has had a (BAM, 1987 and 1992) it is in the field of residency at the Theatre de Caen, and each opera where Les Arts Florissants has found season they present a concert series in the most success. Notable productions include Basse-Normandie region. The ensemble also \Nho's Who tours widely, both within France and interna renowned stage directors such as Jean-Marie tionally, and is a frequent ambassador for Villegier, Robert Carsen, Alfredo Arias, Jorge French culture (with regular appearances at Lavelli, Graham Vick, Adrian Noble, and Andrei BAM, Lincoln Center, and the Barbican Centre Serban are always significant events in the in London, for example). Recent international musical calendar. Amongst his most projects include a collaboration with The outstanding operatic achievements at the head Philharmonie in Berlin (Oct 2002) and a tour of his ensemble are Hippolyte et Aricie (1996), of Japan and South-East Asia (Feb 2003). Les Indes galantes and Alcina (1999) at the Les Arts Florissants is funded by the French Opera de Paris, Medee (1993) at the Theatre Ministry of Culture, the town of Caen , the de Caen , Die Entfuhrung aus dem Serail Conseil Regional de Basse-Normandie, and its (1993) at the Opera du Rhin and King Arthur Associate Partner is Imerys. (1995) at the Theatre du Chatelet in Paris. His many engagements with Les Arts Florissants at William Christie (conductor), harpsichordist, the Aix-en-Provence Festival include Castor et conductor, musicologist, and teacher, is the Pollux (1991), Fairy Queen (1992), The Magic inspiration behind one of the most exciting Flute (1994), Orlando (1997), and, last but musical ventures of the last 20 years. His pio not least, a triumphant revival of /I ritorno neering work has led to a renewed appreciation d'Ulisse in patria by Monteverdi. Much in of Baroque music in France, notably of seven demand as a guest conductor, William Christie teenth and eighteenth century French reper receives regular invitations from prestigious toire, which he has introduced to an ever opera festivals such as Glyndebourne, where growing audience. Born in Buffalo, New he has conducted the Orchestra of the Age of York, Christie studied at Harvard and Yale Enlightenment in productions of Theodora and Universities, and has lived in France since Rodelinda by Handel. The revival of Rodelinda 1971. The major turning point in his career was conducted at the Theatre du Chatelet in came in 1979 when he founded Les Arts Paris in January 2002. Other guest Florissants. As director of this vocal and instru appearances include Zurich Opernhaus, where mental ensemble, Christie soon made his mark he recently conducted Les Indes Galantes by as a musician and a man of the theater, in Gluck. In October 2002 he was the first guest both the concert hall and the opera house, with conductor of the Berlin Philharmonic under Sir new interpretations of largely neglected or Simon Rattle's directorship. Christie is equally forgotten repertoire. Major public recognition committed to the training and professional came in 1987 with the production of Atys by development of young artists, and has nurtured Lully at the Opera Comique in Paris, a produc several generations of singers and tion which then went on to tour internationally instrumentalists over the last 25 years. Indeed, with much success. William Christie's affinity many of today's leading Baroque conductors for French Baroque is indisputable, whether it began their careers with Les Arts Florissants. be the music of Charpentier or Rameau, Between 1982 and 1995 he was a professor Couperin, Mondonville, Campra , or Monteclair. at the Paris Conservatoire, responsible for the He is equally at home with tragedies-Iyriques early music class. He is often invited to give as with opera-ballets, with French motets as master classes and lead summer schools such with music of the court. His enthusiasm for as Aix-en-Provence or Ambronay. His latest French music has not precluded the exploration ventu re in the field of tra i n i ng and of other European repertoire, however, and he development, Le Jardin des Voix, is a European has given many acclaimed performances of workshop for young singers, which took place works by Italian composers such as in the autumn of 2002. William Christie is an Monteverdi , Rossi , and Scarlatti. Purcell, officer in the Ordre des Arts et des Lettres. He Handel, and Mozart have an equal place in his was granted French citizenship in 1995, and affections, as his extensive discography demon was awarded Officier de la Legion d'Honneur in strates. He has made more than 70 recordings, 2003. (many of which have won awards in France and elsewhere) , initially with Harmonia Mundi, Robert Carsen (director), a Canadian native, since 1994 with Erato-Warner, and from 2002 studied at The Old Vic Theatre School in also with Virgin Classics. Christie has a busy Bristol, England , and has directed productions operatic career and his collaborations with at the world's major opera houses, including Who's Who the Metropolitan Opera (Eugene Onegin), La Peter van Praet (lighting designer) has been Scala (Dialogue of the Carmelites), and the the chief lighting designer at the Flanders Paris National Opera (Manon Lescaut, Opera for several years. He recently worked Lohengrin, Alcina). He won the distinguished with Robert Carsen on productions of La Carl Ebert Award for his work at the Glyndeboume boMme in Mannheim, Fidelia in Amsterdam, Festival Opera and was appointed a French and Semele in Cologne. Van Praet also Chevalier des Arts et des Lettres in 1996. In designed lighting for Lohengrin in Amsterdam addition, Carsen has produced Tom Stoppard's (under the direction of Pierre Audi), and for Rosencrantz and Guildenstern Are Dead in Rusalka at the Paris National Opera. New York and Andrew Lloyd Weber's musical comedy The Beautiful Game in London. He Paul Agnew (tenor, Abaris), born in Glasgow, has directed a number of celebrated productions Scotland, was a choral scholar at Magdalen for the Festival d'Aix en Provence, including College, Oxford. A highly respected soloist, his The Magic Flute and Semele. Les Boreades live engagements have included Purcell's King marks Carsen's second BAM engagement-he Arthur with John Eliot Gardiner and Handel's directed Les Arts Florissants' production of Joshua with the Academy of Ancient Music. He Orlando in 1996. has also performed a number of roles with Les Arts Florissants, including Jason in Edouard Lock (choreographer) was born in Charpentier's Medee, Hippolyte in Rameau's Casablanca and raised in Montreal. He has Hippolyte et Aricie (BAM , 1997), and Orpheus created work for the Nederlands Dans Theater, in Charpentier's Orpheus in the Underworld. Paris Opera Ballet, and Les Grands Ballets Among Agnew's many recordings are Handel 's Canadiens de Montreal, among others. Lock L'Allegro, if penseroso ed il moderato with founded the ensemble Lock-Danseurs in William Christie (Erato) and a series of 1980-which later became La La La Human acclaimed recordings with lutenist Christopher Steps. The performances of La La La Human Wilson. Recently he has sung the title role in Steps have been presented at dance festivals Pia tee and the roles of Valere/Tacmas/Damon and stages including the Edinburgh Festival , in Les Indes galantes-both at the Paris Sadler's Wells (London), ImPulsTanz (Vienna), National Opera . and Dance Theater Workshop (NY). Lock and his ensemble also regularly work with rock JaiH Azzaretti (soprano, Semire) studied voice, musicians, and Lock was the artistic director piano, and violin at La Maitrise de Radio for David Bowie's Sound and Vision tour. France. In 1996, she joined the Opera Comique where she undertook the roles of Michael Levine (set and costume designer) Ernestine (Monsieur Chouffeur;), Frasquita was born in Toronto and studied at the Central (Carmen), and Zerlina (Don Giovanni), among School of Art & Design in London. Since his others. She has performed at the Theatre des debuts at Glasgow's Citizen Theatre, he has Champs-Elysees in L'Argia de Cesti, at the worked worldwide on theater, cinema, and Grand Theatre de Tours and the Opera de opera, and has designed sets for the Rennes in Orpheus and Eurydice (as Amour) , Metropolitan Opera, the Lyric Opera of Chicago, and has recorded the role of Sophie de Werther the Staatsopera of Vienna, and The English under the direction of Jean-Claude Casadesus. National Opera, among others. Levine has Azzaretti participated in a production of II Tito designed costumes and sets for Robert Lepage de Cesti at l'Opera du Rhin with William and sets for Simon McBurney's Mnemonic Christie, and recently appeared as Susanna (British Theatre Critics Award, 1999). He has in The Marriage of Figaro at Saint-Etienne worked with Robert Carsen on numerous and as Pedro in Don Quixote at the Paris productions including Eugene Onegin National Opera. (Metropolitan Opera) and La songe d'une nuit (tete (at the Festival d'Aix en Provence). Levine received the Gemini Award for set design for the film September Songs and recently created sets for the Broadway musical comedy Imaginary Friends. \"Lho's Who

Hanna Bayodi (soprano, A Nymph & Polymnie) (Carmen) at the Grand Th eatre de Geneve. She was born in Tours , France and studied voice at has sung Thibault in Don Carlos at Covent the conservatory at Besanc;on with Armande Garden, First Lady in The Magic Flute at the Olivier before continuing her studies with Frantz Festi val d'Aix en Provence, Diane in Orpheus in Petri at the national music school at Montreuil the Underworld at La Monnaie in Brussels, and sous-Bois (where she won a gold medal in Pamina (The Magic Flute) in Seattle in her U.S. 1998). In 2001, Bayodi sang the roles of debut. With William Christie, Panzarella has Amour and Damigella in Monteverdi's sang Aricie (Hippolyte et Aricie) in 1996 and L'incoronazione di Poppea, directed by Emilie/Zaire (Les Indes galantes) in 2000, both Emmanuelle Haim at the Paris Conservatory. at the Paris National Opera. She performed in Brahms' Requiem at Opera de Rennes and at Lannion in 2002, and Nicolas Rivenq (baritone, Adamas/Apollon), recorded Desmarets' Te Deum earlier this year born in London , began his vocal studies in under the direction of Herve Niquet. Paris at Lecole d'Art Lyrique de I'Opera and continued in the U.S. with Nicola Rossi-Lemeni. Jean-Sebastien Bou (baritone, Borilee) earned He made his concert debut in London with gold medals in singing and lyric arts from the Yehudi Menuhin in 1986. Rivenq 's repertoire Conservatoire de Saint Maur (France) and ranges from early music (Rameau's Les Indes continued his studies at the Conservatoire galantes at Aix-en-Provence, Monteverdi's National Superieur de Musique in Paris. He Orfeo at the Salzburg Festival) to contemporary has appeared in the role of Masetto in Don works (John Adams' The Wound Dresser). Giovanni, Escamillo in Carmen at the Festival He was chosen by Giorgio Strehler to sing of Saint Cere (a role he repeated at Theatre Guglielmo in his last production of Cos! fan Mogador in Paris), and Baron Douphol in La tutte at Milan's Piccolo Teatro--a role which he traviata at Opera d'Avignon. Bou frequently then performed on a subsequent European performs on the concert stage, including tour. He has recently sung Pelleas (Pe//eas and performances of Dvorak's Te Deum and Bach 's Melisande) at the Flanders Opera, Valentin Christmas Oratorio. Recently, he appeared as (Faust) in Rome, and Adario (Les Indes Marcello in La boMme at Opera de Saint galantes) at the Paris National Opera. Etienne and as Pelleas at Opera de Lyon . Toby Spence (tenor, Calysis) was an honors Laurent Naouri (baritone, Boree), born in graduate and choral scholar at New College, France and educated at The Guildhall School of Oxford , and was awarded a scholarship to Music and Drama in London, began his career study at the 1995 Ravinia Festival. He made in 1992. He made his debut at the Paris Opera his Barbican debut with the Gothenburg in the role of Thesee in Hippolyte et Aricie. Symphony Orchestra in Sibelius' The Tempest Naouri has sung the title role of Eugene Onegin and toured with the Mark Morris Dance Group at L'Opera de Nancy, Golaud in Pe//eas et singing Brahms' Liebes/ieder-Walzer. Among Melisande (opposite Anne-Sofie von Otter, his live performances are Idamante with the under the direction of Bernard Haitink), the Welsh National Opera at La Monnaie in Count in The Marriage of Figaro at Festival Brussels, Mitridate at the Salzburg Festival d'Aix en Provence, Melisso in Alcina at the (conducted by Roger Norrington), and Paris National Opera, and Mephisto in The Idamante at the Royal Opera House, Covent Damnation of Faust, conducted by John Eliot Garden. Spence's concert performances include Gardiner in London . the Monteverdi Choir and Orchestra led by John Eliot Gardiner, the Edinburgh Festival with Anna Maria Panzarella (soprano, Alphise) was Roger Norrington, and the San Francisco born in Grenoble of Italian parents. She studied Symphony Orchestra with Michael Tilson with Ursula Buckel at the Conservatoire Thomas. He has also recorded extensively. Superieur de Musique de Geneve. She continued her studies at the Royal College of Music in London and became a member of the National Opera Studio. Her debut role was Frasqu ita The purpose of the American Friends of the Board of Trustees Paris Opera & Ballet is to share the many » Mary Sharp Cronson, Chairman Marina de Brantes, Vice Chairman treasures of the Opera National de Paris Rand V. Araskog directly with the American public and to 3 Anne H. Bass foster artistic cooperation between the Paris ([) Lucy Young Boutin Opera and the creative community in the ~ Michel David-Weill Andre Dunstetter United States. Created in 1985, the not- Elizabeth Fondaras for-profit, tax-exempt foundation is supported 0 Douce Francois Freitas by contributions, grants and bequests from ill F. Malcolm Graff, Jr. Eugene P. Grisanti individuals, foundations and corporations. ::J Claude Janssen Henry Kissinger Since its inception, the organization has Emily Fisher Landau Jacques Leviant underwritten numerous U.S. tours of the II ~ Earle I. Mack Paris Opera, Paris Opera Ballet and Paris Sylvia Mazzola Opera Ballet School, traveling exhibitions ([) Lee Radziwill Kenneth Rainin from the Paris Opera Museum and Library, ::J Edward A. Reilly the appearances of many guest artists Sophie Schyler Thierry from the Paris Opera Ballet with American 0... Olga Geroulanos Votis Gregory Annenberg Weingarten dance companies and a number of (J) John R. Young productions or presentations at the Paris Cecile Zilkha Opera that prominently feature the work 0 Hal J. Witt, Director of American artists. ---tot Current Donors ~ Air France The American Friends of the Paris Opera & The Annenberg Foundation Ballet is proud to be the lead sponsor of the ::::r Anne Hendricks Bass Foundation Paris Opera's production of Les Boreades at ([) Lucy Young Boutin The Owen Cheatham Foundation BAM and wishes to gratefully acknowledge Arlene C. Cooper The Annenberg Foundation for its major -0 Douglas S. Cramer Foundation underwriting, as well as the additional Mary Sharp Cronson ill Zita Davisson generous support of Mrs. Edmond J. Safra, ~ Eugenia Delarova Doll Fund Grand Marnier Foundation and the Francena William J. Fox Foundation T. Harrison Foundation Trust. (J) Ann and Gordon Getty Foundation Florence Gould Foundation Grand Marnier Foundation Special thanks to Marina de Brantes, Mary Francena T. Harrison Foundation Trust Sharp Cronson, Edward A. Reilly, Regina and 0 Darril Hudson Geoffrey C. Hughes Foundation Gregory Annenberg Weingarten, the Cultural "D Jacques Leviant Services of the French Embassy and the ([) Mr. and Mrs. Earle I. Mack Mr. and Mrs. Tom Marsh French Consulate . ~ Mr. and Mrs. Henry S. Miller, Jr. ill Thierry Millerand American Friends of the Paris Opera & Ballet Mr. and Mrs. S. I. Newhouse 972 Fifth Avenue Kenneth Rainin New York, NY 10021 Qo Lee Radziwill Tel: 212-439·1426 Fax: 212-439·1455 Frederick W. Richmond Foundation Felix and Elizabeth Rohatyn Foundation OJ Mrs. Edmond J. Safra ill Mr. and Mrs. Andrew Saul Evelyn Sharp Foundation Peter Jay Sharp Foundation ([) Societe Generale Mr. and Mrs. Heinrich Sussner ~ Mr. and Mrs. Ezra K. Zilkha ~ / ; The Campaign for BAM Guerlain Inc. Mr. Tad Sennott & Ms. Jennifer Mr. Gustavo Cisneros Mr. T Radey Johnson & Ms. J. Dozier Hasty (CC) Kellogg (CC) Joan Hardy Clark (PC) Jane Platt (PC) Heritage Air Systems, Inc. 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Gimbel Jane F. & Dwight Nishimura Esther RedmounVHarry White (EI Alliance Capital Management Michael & Deborah Goldberg Mr. & Mrs. Marvin Numeroff Windsor Electric Corporation Mr. Guido Goldman John & Bonnie Nuzum Mary C. Wolf American Chai Trust Mr. I. Michael Goodman & The George Oliver Family (E) Mr. & Mrs. Elliot Wolk Amphion Foundation Ms. Judith Uman Mr. David C. Olstein The Zeitz Foundation Frank B. & Mary Ann Arisman Mr. Peter W. Greenleaf Mr. Hank O'Neal & Zephyr Trust Atlantic Records Greyhawk North America Ms. Shelley Shier Bank of America Matching Ms. Sandra Grieser James O'Neill As of May 1, 2003 Gifts Program Ronald & Amy Guttman Dr. Janusz A. Ordover Benjamin & Leah Arlene Heyman M.D. & Ms. Friederike Penberg Kreutzer-Barber Shepard Kantor M.D. Permasteelisa Cladding Ms. Andrea Barbieri (E) High-Rise Electric Inc. Technologies, ltd. Permanent Mission of Belgium Hany G. Hives & Max Quinn (EI Mr. & Mrs. Michael Peskin to the UN Mellody Hobson Photography in New York, Inc. Planned Giving-BAM Angels BAM Angels recognizes Estate of Bettina Bancroft Rita Hillman Scott C. McDonald individuals who have made Robert & Joan Catell William Josephson Evelyn & Everett Ortner planned gifts to the BAM Neil D. Chrisman Charlotte & Stanley Kriegel Frank J. & Adeline Pannizzo endowment. For information Mr. & Mrs. Henry Christensen III Edgar A. Lampert Alex Wagman call Denis Azaro at Mallory Factor Harvey lichtenstein Judge Franklin R. Weissberg 718.636.4193. Judith R. & Alan H. Fishman Phyllis Holbrook Lichtenstein Fl Joders

BAM 2003 Spring Season is Spring Season supporters, Additional endowment funds and gifts, sponsored by, The Peter Jay Sharp Foundation The Peter Jay Sharp Fund for Opera Richard B. Fisher & Jeanne and Theater, The Andrew W. Mellon Foundation, Michael Bancroft Goth Donovan Fisher Endowed Annual Performance Fund, The Fan Fox and Leslie R. Samuels Altria lila Wallace-Reader's Digest Endowment Foundation, Inc. Fund for Community, Educational, and The Shubert Foundation, Inc. Public Affairs Programs at BAM, The Alberto Vilar The Andrew W. Mellon Foundation Francena T. Harrison Performance Fund; Honorary Cha irman, BAM Opera The Starr Foundation The Charles and Valerie Diker Dance Leadership institutional support provided The SHS Foundation Endowment Fund, The William Randolph by The Andrew W. Mellon Foundation The Norman & Rosita Winston Foundation Hearst Endowment Fund for Education and Humanities. New York City Central Labor Council and Programming in the BAM Howard Gilman the Consortium for Worker Education Opera House is supported and endowed BAMcafe live sponsored by, by The Howard Gilman Foundation. Forest City Ratner Companies JPMorgan Chase Programming in the BAM Harvey HSBC Bank USA conEdison Theater is endowed by the Doris Duke The New York Times Charitable Foundation. with additional support from the Fleet Mary Flagler Cary Charitable Trust Rhythm & BAM is made possible by AOL Time Warner a grant from, AT&T Major support for BAMcafe live French Credit Suisse First Boston programming in the Lepercq Space is (tInde~ndence Community Foundation Morgan Stanley provided by The Lepercq Foundation. Credit Lyonnais BAMcafe piano provided by Leadership support for BAM Dance, The Feinberg Foundation Inc. The Harkness Foundation for Dance Deutsche Bank Barbro Osher Pro Suecia Foundation Spring Ga la sponsored by, BAMcinematek is made possible through The Horace W. Goldsmith Foundation, the leadership support of The Ambrose Monell Foundation, The m~ Bodman Foundation, The Samuel I. ~ ~Rs'I ~~H'T~a:~~ M ONACO Newhouse Foundation Inc., The Gladys Krieble Delmas Foundation, The Robert BAM Rose Cinemas are named in Les Boreades sponsored by, W. Wi lson Foundation, Inc., GGMC recognition of a major gift in honor of American Friends of the Parking, LLC, lsak and Rose Weinman Jonathan F P. & Diana Cal thorpe Rose, Paris Opera & Ballet Foundation; Francena T. Harrison and have been generously supported by Foundation Trust, Harold & Mimi The Peter Jay Sharp Foundation, Richard Steinberg Charitable Trust, British B. Fisher & Jeanne Donovan Fisher, Airways, The Surdna Foundation, Inc., James Ottaway, Jr., HSBC Bank USA, Leadership support for BAM Scherman Foundation, Inc., Anne H. Bloomberg Radio AM1l30, Trust for French Programs: Bass, The Irene Diamond Fund, Inc., Mutual Understanding, and Bowne The Florence Gould Foundation ~ Estate of Martha lalles, Eleanor Naylor Enterprise Solutions. Additional support Dana Charitable Trust, The Laura Pels is provided by the French Embassy Hashirigaki sponsored by, Foundation, The Rose M. Badgeley Cultural Services, The liman Foundation, Residuary Charitable Trust, New York The Grodzins Fund, and Coca-Cola State Assembly Brooklyn Delegation, Enterprise of New York. Scandinavian Airlines; British Council; Public Art Fund and BAM present American Express Company, Giorgio Cinema Club Chairs Vik Muniz's CandyBAM Armani Corporation, Ann & Gordon Getty Ismail Merchant and James Ivory Sponsored by Target Stores Foundation; Vincent Astor Foundation; Merchant Ivory Productions Consulate General of Sweden, Swedish The BAM facility is owned by the City BAM marquee sponsor, Institute, Bowne Enterprise Solutions, of New York and is funded, in part, with Tony & Lawrie Dean, New York Brooklyn public funds provided through the New embanK Marriott; The American-Scandinavian York City Department of Cultural Affairs Foundation, The Heimbold Foundation. Official broadcast sponsor, with support from Mayor Michael R. Your tax dollars make BAM programs Bloomberg, the New York City Council, P'~I?,~rg possible through funding from , Council Speaker Gifford Miller, the Brook~n Delegation of the Council , Councilman New York City Department of Cultural www.bam.org sponsor: James E. Davis, Brooklyn Borough Affairs , New York State Council on the President Marty Markowitz, and Cultural Arts, National Endowment for the Arts Affairs Commissioner Kate D. Levin. ~ NVSCA -o RA 1\/1 staff Catherine Cacho Silvio Niculescu Royda C. Duncan Jessica Warner Tameka White Helpdesk Manager Ticket Services Sponsorship Coordinator Fiscal Coordinators Vladimir Lantsman Assistant Manager Raphaele Andriuzzi Latasha White Network Analyst Crystal Backus Sponsorship Assistant Accounts Payable Brian W. Grundstrom Shanequa Battle Bookkeeper William Allan Lee Brienne Blenman Fiscal Programmer/Analysts Margo Brooks Kozue Oshiro Capital Projects/Operations Corina Copp Fiscal Manager Toby Rappaport Marketing & Communications Sheyla Echevarria Capital Projects Box Office Billy Ferriabough Robin Bowie Coordinator Fred Dorso Julio Genao Fiscal Administrator Joseph O'Hara Treasurer Daman Harun Hsin-Yu Lin Fiscal Coordinator Marsha Rosenberg Talia Krispel Fiscal Coordinator Olga Blank First Assistant Treasurer Denise Lewis Administrative Assistant Victor A. Jouvert Katora Matthews Membership Beryl Jolly Building Operations Kevin McLoughlin Latasha McNeil Charlie Dolce Elsie Pacella Director of Individual Giving Michael Davis Jeong-Yeun Yang Director of Operations Francis Oestricher Louie Preston Assistant Treasurers James RiddiCk, Jr. Senior Membership Daniel J. Dier Coordinator Building Services Assistant Sharell Rogers Communications Terri Shaw Michael Hambouz Nicole Pile Membership Coordinator Facilities Coordinator Sandy Sawotka Richard Tayloe Dira:tor r:i Crolmunk:ations Michelle Taylor lhe-Wei Hsuan Agnes Jackson Membership Assistant Administrative Assistant Melissa Cusick Kevin Varner Senior Publicity Manager Ticket Services Patron Services Dewonnie Frederick Representatives HVAC & Repair Services Brenda D. Cook Gary Batson Lazzaro Curata Public Relations Assistant! Patron Services Manager Bazaar Coordinator Cathy Cullen HVAC Supervisor Angela Romua ldez Molly Gross Monique Davis Anthony Shields Senior Patron Cinema Publicity Manager Sam Gordon Angel Ovalles Services Coordinator Courtney Harris Fatima Kafele Karen Madsen Walida-Simone Bailey Senior Public Relations Telemarketers Carl Blango Matthew L. Arbo Manager Patron Services Assistants Security Tamara McCaw Planning & Development Israel Moreno Crolmuni!y Affairs & Aucience Richard Serrano Special Events Security Operations Manager Development Ma~ Research Manager Jennifer Stark Melvin Patterson Susan Yung Monika Wunderer Special Events Manager Shirley Phillips Publications Manager Development Ma nager Rini Keagy Supervisors Vha ry Leggat & BAMart Coordinator Beth Burgess Kenneth Aguillera Jacqueline Shine Aradhana Nair Special Events Coordinators Damon Armstrong Shawn Williams Proofreader & Collie Dean Interns Administrative Assistant Accountants Senior Attendant Guards Sophia Chang Deloitte and Touche LLP Terrence Caldeira Design Development Assistant Aubrey Gravesande Eric Olson David Ben Arie Bookseller Theophilus Johnson Director of Design Jennifer Becker Shakespeare & Co. Anthony Pirrone Clara Cornelius Naomi Beckwith Derrick Tinglin Senior Designer Classical Music Consultant lara Bode Manadou Tounkara Dan Dobransky Paul Rosenblum Clyde Yearwood Marilyn Casowitz Designer Man-Chun Chan Michael Whyte Megan McEntire Design Consultant Attendant Guards Sun Mee Chomet Design Studio Manager Kate Cusack Pentagram Chris Daruszka Ben Davidson Custodial Services Intern Film Buyer Ramon Cabassa Aya Harazono Su Hyun Lim Jeffrey Jacobs Supervisor Marketing Sun Mee Chomet Jacobs Entertainment, Inc. Calvin Brackett Lisa Mallory Mee Ashley Kasperzak Carl Cato Director of Marketing Akiko Kawamoto Immigration Counsel Franklin Fernandes Scott Sullivan Interns Jonathan Ginsburg, Fettman, Tolchin and Harold Heath Marketing Manager Majors, PC Ron Rathan for Mainstage and Endowment Winston Smith Education Denis Azaro Insurance Heidi Duffey Endowment and Marsh USA Inc. Harvey Theater Marketing Manager for Development Director Lionel Stevens Electronic Media I-Hsuan Tseng Legal Counsel Building Supervisor Soo Pak Endowment Assistant Rendell Blount Kaufmann, Feiner, Yamin, Marketing Manager for Gildin & Robbins Shawn David BAMcinematek & BAMcaf!! Grants Saint Luc Guy Leila Day William Lynch Market Research Ismael Colon Marketing Associate Grants Director George Wachtel Ahmad Ghany Michaela Goldhaber Audience Research Syllena Deterville Ticket & Customer Services Grants Coordinator & Analysis G. Scott Kubovsak Beth Elliott Information Technologies Director of Ticket and Grants Assistant Medical Consultant Lloyd Nesbitt Customer Services Jonathan Lorch, M.D. Director Robert M. Speck Sponsorship Beatrice Ridore Ticket Services Manager Aimeelyn Calandria Restaurateur Administrative Assistant Jose Noel Vega Sponsorship Manager JAM. Catering Services LLC Patrick Moody Telemarketing Manager Technical Support Manager LJocominQ BAM Events BAM Rhythm & Blues Festival at MetroTech Thursdays through Aug 7

Noon-2pm. Free!

Jul 3 Steel Pulse / Jul 10 Dirty Dozen Brass Band

Jul 17 Double bill' Donnie / Martha Redbone Jul 24 Mighty Clouds of Joy Jul31 Fred Wesley and the JB's Aug 7 Jimmy Cliff Donnie. Photo: Andrew Dosu nmu

BAMcinematek Highlights BAMcinematek at BA M Rose Cinemas features dai ly scree ni ngs of class ic Am eri can and foreign films, documentaries, retrospectives, and festiva ls. Three For Audrey Hepburn The New Festival @ BAM July 1--4 The Children's Hour, Charade , July 23 Robin's Hood and Wait Until Dark Q&A with producer Joshua Nelson after 7pm screening Troma Weekend July 5 All the Love You Cannes! Cinemachat with Elliott Stein Q&A and book signing with ~director July 30 The Lodger Lloyd Kaufman after 6pm screening Cinemachat after 6:50pm screening

One, Two, Three, Four: Billy Wilder July 7- 28, Sundays Ace in the Hole; One, Two, Three!; Kiss Me, Stupid; and Avanti!

Kaurismiiki Goes America July 17 Take Care of Your Scarf, Tatiana 6:50pm screening introduced by Jim Jarmusch

Cinema Tropical July 16 Herencia

Juha , dir. Aki Kau rismaki. Photo, Marja-Leena Hukkanen Check www.bam.org or the BAMcinematek calendar for more details.

For weekly schedules, call 71S,636.4100 x2. For tickets cal l 71S,777.FILM (order by "name of movie") or visit www.bam.org. Programs and showtimes subject to change. Check within three days of screenings to confirm.

28 BAMdirectorv BAM BAM Box Office BAMcafe Headphones 30 Lafayette Avenue Hours Performances and BAM offers infra-red Brooklyn, NY 11217 M- S: 12noon-6pm hours of operation listening devices for Sun: open on perform 718.636.4100 the hearing impaired; BAM Ticket Services ance days only from please i nq u ire at the 718.636.4100 12noon- 4pm Restrooms coat check room. General information, BAM Howard Gilman single ticket and Advance ticket sales Opera House: Administrative Offices subscription sales stop one hour prior mezzanine and balcony 718.636.4111 to curtain. level-Handicapped BAM Patron Services Ticketmaster accessible: orchestra 718.636.4182 212 .307.4100 BAM Harvey Theater level and BAMcafe Single ticket sales box office opens 90 BAM Harvey Theater: BAMart minutes prior to curtain lobby and gallery level BAM's visual art Group Sales on performance days. collection. Information: For ticket orders of BAM bus 718.636.4101 20 or more Student / Senior 718.636.4100 212.398.8383 Rush Information Make your reservation Lost & Found 800.223.7565 718.636.4100 up to 24 hours prior to M-F: 9am-5pm Call to check ticket curtain-time. 718.636.4133 Internet Orders availability on the day www. bam.org of the performance. Rental Information Brooklyn Philharmonic 718.636.4198 718.622.5555 Fax Orders 718.636.4106 651 ARTS 718.636.4181 BAM Rose Cinemas Box office opens 30 BAM Rose Cinemas is are available; inquire Advance Ticket Sales minutes before the first wheelchair accessible. at the box office. 718.777.FILM screening of the day. Infra-red headsets for or www.bam.org the hearing impaired BAMcinematek Info: 718.636.4100 Please Note Warn ing The photo street. In the event of BAM backstage ~ Food and drinks are graphing, videotaping, fire or other emer employees are ~ not permitted in the or sou nd record ing of gency, please WALK represented by BAM Howard Gilman any performance or TO THAT EXIT, FOL the International Opera House or BAM the possession of any LOWING THE DIREC Alliance of Theatrical Harvey Theater. device for such inside TIVES OF THE HOUSE Stage Ernployees th is theater, without STAFF. Thoughtless (I.A.T.S.E.). BAM is a charter written permission of persons annoy patrons member of the League of Historic Arnerica n the management, is and endanger the BAM ATPAM prohibited by law. safety of others by theater Theaters and an affiliate Violators may be pun lighting matches or managers and press member of the League ished by ejection and smoking in prohibited agents are represented of American Theaters may be liable for areas during the by the Association of and Producers. money damages. Theatrical Press Agents performances and Freight Transportation is intermissions. This and Managers, Local provided by Schenker violates a New York #18032, IATSE, Fire Notice The exit International. indicated by a red light City ordinance and is AFL-CIO. and sign nearest to the punishable by law. Children under five - Fire Commissioner seat you occupy is the not admitted unless shortest route to the explicitly noted.

29 Aki Kaurismaki

Thanks to BAMcinematek's "Kaurismaki Goes America," which runs from July 10-27, By Leslie (Hoban) Blake Americans will finally get the chance to see an enormous selection of the director's work. This remarkable retrospective will later tour the U.S. For the past two decades, the iconoclastic and Canada. Finnish filmmaker Aki Kaurismaki has been relatively unknown to most American movie The Finnish film critic Helena Ylanen has goers. That changed somewhat this year, classified Kaurismaki 's films into three when his latest film, The Man Without A Past categories: "adaptations of classics, improvised became a big winner at last year's Cannes Fil~ odysseys, and portrayals of the proletariat." Festival and Finland's official Oscar nominee for And representatives of each category will be on Best Foreign Film. display in the festival, which includes such films as Hamlet Goes Business (1987), To those familiar with his oeuvre, such wherein Elsinore becomes the headquarters of recognition was long overdue. His films are a Helsinki rubber duck factory, and Drifting often deadpan, political, and carefully framed Clouds (1996), an acclaimed portrait of (there's a definite Fassbinder influence). In Finland's down-and-out working class. addition, the director pays unusual attention to the soundtrack, often utilizing a specific mix of Also on hand is the pessimistic fairy tale, The old and new songs, and both European and Match Factory Girl (1990), which along with American music. Ariel (1988) and Shadows In Paradise (1986) comprise his so-called "working class" trilogy. Above all, Kaurismaki is an artist of striking The series will close with Juha (1999), his originality: In writing about his work, brilliant homage to such silent film classics as Kaurismaki has said: "The world is full of sex Broken Blossoms and Sunrise. films and fast comedies, so I made something closer to me myself. Not too much talk. It's not Kaurismaki began making films with his older a particularly Finnish thing, it's just me."

30 Aki Kaurismaki brother Mika in 1981. He even starred in their Truffaut- plays a lonely French transplant in first collaboration, The Liar, a 45-minute long an imaginary London. Failing in a couple of meditation that follows an incurably romantic suicide attempts, he hires a hit man to do the young man from Helsinki during his summer job. The film, dedicated to the great British time wanderings. (Brother Mika still directs as director Michael Powell, also features a cameo well, and has worked in the U.S.) by Joe Strummer, the recently deceased gu itarist of The Clash. In 1983, Kaurismaki directed his first full length feature: a 90-minute adaptation of The following year, Leaud popped up again. Dostoyevsky's Crime and Punishment trans Along with directors Louis Malle and Sam planted both physically and emotionally to Fuller, he had a cameo in La Vie de boheme, Finland. The film features the late Matti Pellonpaa, Kaurismaki's deadpan take on the Henri 'The world is full of sex films and fas t comedies, so I made something closer to me myself Not too much talk. It's not a particularly Finnish thing, it's just me.' who would become the male mainstay of Murger novel about Parisian bohemians. Kaurismaki's own resident stock company. Another fellow director, Jim Jarmusch, Calamari Union, his 1983 black and white appeared briefly in Kaurismaki's 1989 film, satire on nouvelle vague films mirrors Jean-Luc Leningrad Cowboys Go America, the first of his Godard's use of place as character; for the Paris many films about the Helsinki rock n' roll band of Breathless, he substitutes Helsinki, and jokingly billed as "the worst in the world." Kaurismaki's "band of outsiders" are all named Kaurismaki also called this "the worst film in Frank, except for one named Pekka. It's vintage the history of the cinema, unless you count comic existentialism, Finnish-style. Sylvester Stallone's films."

In 1986, Kaurismaki debuted Shadows in Indeed, the elusive director once said, in his Paradise, the first of what critics dubbed his inimitable deadpan fashion, "All my films are "prole tragedies." It told the tale of a lonely lousy." Don't you believe him! ,. garbage man (Pellonpaa) and a cashier played by Kati Outinen (who would win the Leslie (Hoban) Blake is second vice-president of the Best Actress Award at Cannes for The Man Drama Desk. She writes about all aspects of enter Without A Past.) tainment and reviews films for various online and print publications. Blake has also conducted several In 1990, Kaurismaki cast famed French actor Q&As at BAMcinematek, with such film notables as Harvey Keitel, James Ivory, and Ed Pressman. Jean-Pierre Leaud in I Hired a Contract Killer, the director's only English language venture. Leaud-best known for his work with Franc;ois Kaurismaki Goes America July 17 Take Care of Your Scarf, Tatiana* BAMcinematek at BAM Rose Cinemas (*introduced by Jim Jarmusch) July 18 Ariel July 10 Calamari Union July 19 Hamlet Goes Business July 11 Crime and Punishment July 20 I Hired a Contract Killer July 12 Shadows in Paradise July 22 Leningrad Cowboys Meet Moses July 13 Leningrad Cowboys Go America July 24 La Vie de boheme July 15 Total Balalaika Show with the shorts July 25 The Match Factory Girl These Boots, Those Were the Days, Thru the July 26 Drifting Clouds Wire , Rocky VI July 27 Juha Check www.bam.org for the latest information.