2016 Winter/Spring Season APRIL 2016

Home , Songs for Drella

Elizabeth Murray, If Only Cup, 1997—98

Published by: Season Sponsor: 2016 BAM Winter/Spring #LesFetesVenitiennes

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board Les Fêtes Katy Clark, President

Joseph V. Melillo, Executive Producer Vénitiennes

BAM Howard Gilman Opera House Apr 14 & 16 at 7:30pm; Apr 17 at 2pm

Running time: approx. three hours including intermission

By André Campra Les Arts Florissants Opéra Comique

Conducted by William Christie Directed by Robert Carsen

Scenic design by Radu Boruzescu Choregraphy by Ed Wubbe Costume design by Petra Reinhardt Lighting design by Robert Carsen and Peter van Praet English titles by Christopher Bergen

Season Sponsor:

In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM.

Major support provided by the Selz Foundation.

Leadership support for opera at BAM provided by Aashish & Dinyar Devitre and The Andrew W. Mellon Foundation.

Additional support provided by Anne H. Bass; Norman S. Benzaquen; Michael E. & Mary Gellert; The Fan Fox & Leslie R. Samuels Foundation; Robert L. Turner; and Sam & Ellen Sporn.

Endowment funding provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater.

Support for the Signature Artist Series provided by the Howard Gilman Foundation.

Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust. Les Fêtes Vénitiennes

CAST Magali Léger, Soprano La Raison, Lucile, Lucie

Elodie Fonnard, Soprano Iphise, La Fortune

Rachel Redmond, Soprano Irène, Léontine, Flore

Emilie Renard, Mezzo Soprano La Folie, Isabelle Reinoud Van Mechelen, Tenor Thémir, Un Masque, Zéphyr

Cyril Auvity, High tenor Maître de Danse, Suivant de la Fortune, Adolphe

Sean Clayton, Tenor Démocrite

Marcel Beekman, Tenor Maître de Musique, Maître de Chant

Jonathan McGovern, Baritone Alamir, Damir, Borée

François Lis, Bass Le Carnaval, Léandre, Rodolphe

Geoffroy Buffière, Bass Héraclite

WILLIAM CHRISTIE CYRIL AUVITY MARCEL BEEKMAN GEOFFROY BUFFIÈRE

SEAN CLAYTON ELODIE FONNARD MAGALI LÉGER FRANÇOIS LIS

JONATHAN MCGOVERN RACHEL REDMOND EMILIE RENARD REINOUD VAN MECHELEN

ROBERT CARSEN RADU BORUZESCU ED WUBBE PETRA REINHARDT PETER VAN PRAET Les Fêtes Vénitiennes—Synopsis

Les Fêtes Vénitiennes, an opéra-ballet by André Irène. From her window, she responds with Campra, with a prologue and three entrées—Le an Italian tune in which she calls him a fickle Bal, Les Sérénades, and L’Opéra—premiered at butterfly and spurns him. But Léandre,seeing a the Académie Royale de Musique in 1710. woman approach in the dark, believes that Irène came down to join him. He assures her that PROLOGUE neither Lucile nor Isabelle have ever charmed The Triumph of Folly over Reason during Carnival him. But it turns out that he actually spoke to Venice. Carnaval appears and invites the crowd the two girls who eventually reject him forever. to join him for the festivities. Folie joins him He comes to terms with it and rejoins a troupe with her retinue of Pleasures and supports his of gamblers who celebrate the power of Fortune: ambition to amuse and entertain. But a killjoy she exhibits the influence of her fickleness on arrives: Reason. Assisted by wise Democrite and gambling and love alike. Heraclite, she attempts to disenchant the crowd and warns everybody against the aberrations of THE OPERA Carnaval. In vain: she must leave Venice, letting In a theater where an opera is to be performed, Folie and Carnaval lead the festivities. a new actor enters—Borée, who hopes to approach Léontine, a singer he adores. Adolphe, THE BALL a singer himself and Damire’s friend, tries to Prince Alamir courts Iphise without revealing his divert the knight from his venture, to no avail. identity. To test her sincerity, he swaps clothes Damire is determined to abduct the woman with his servant Thémir. A music master and a performing the part of Flore that evening before dancing master, both French, have been asked to she is abducted by his rival Rodolphe, attending organize the sumptuous ball given by the prince the performance. It turns out that Léontine is in the evening. Each master endeavors to show really in love with Damire. Tired of pretending, he is the best and that his art prevails. Thémir, she wishes to be sincere despite the admonitions disguised as a prince, is to follow his efforts of her colleague Lucie who appreciates the while Alamir, dressed as a servant, puts Iphise duplicity of their situation. The singing master to the test by trying to convince her to accept the arrives to make Léontine rehearse her part. But love of “Prince” Thémir. Iphise is confused and he also loves her and shows his jealousy of her despair brings about the revelation: Alamir, Rodolphe, who is awaiting Léontine backstage. delighted to be loved for himself and not for his rank, proves to be the true patron of the festivity. The performance begins with Rodolphe in Charmed by the stratagem, Iphise reaffirms her attendance. It is a pastoral featuring shepherds love for Alamir. Both the prince and his new and shepherdesses with Zéphire and Flore, the princess can partake in the ball light-heartedly. latter played by Léontine. The entertainment is interrupted by the untimely arrival of the god of —INTERMISSION— wind Borée, who abducts Flore with the help of the north winds. While Zéphire mourns over SERENADES AND GAMBLERS Flore’s disappearance, Lucie declares that the One evening two anxious and jealous girls performance cannot go on since Léontine has meet in a Venetian square: Isabelle and Lucile truly been abducted, not by Borée but by he who have come to catch their unfaithful lover, each was portraying him: Damire! Rodolphe, furious one believing that her lover deceives her with of having been abused, can only leave the the other. It is indeed one and the same man, theater and run to the port as the two lovers are Léandre, but the two rivals find out that a about to leave Venice. third girl is involved. They hesitate to unite for revenge, each one thinking that the other wants EPILOGUE to keep Léandre. The gallant is coming with a The carnival ends and life is back to normal troupe of musicians and plays a serenade under again… or so it seems! the balcony of the one he hopes to conquer, Les Fêtes Vénitiennes

DANCERS Alexandre Jolicoeur Reid Cuming Mara Hulspas Jean Gabriel Maury Bonnie Doets Maya Roest Kiyan Khoshoie Bryndis Brynjolfsdottir Debora Soto (ballet master) Mischa van Leeuwen Leslie Humbert

CHORUS SOPRANOS HIGH TENORS TENORS BASSES Solange Añorga Camillo Angarita Edouard Hazebrouck Geoffroy Buffière Maud Gnidzaz Sean Clayton Thibaut Lenaerts Anicet Castel Eugénie Lefèbvre Bruno Renhold Nicolas Maire Laurent Collobert Virginie Thomas Marcio Soares Jean-Yves Ravoux Simon Dubois Violaine Lucas Holanda Michael-Loughlin Christophe Gautier Brigitte Pelote Jonathan Spicher Smith Geoffroy Heurard Juliette Perret Julien Neyer Isabelle Sauvageot

ORCHESTRA VIOLINS CELLOS PERCUSSION Florence Malgoire (violin solo) Elena Andreyev Marie-Ange Petit Myriam Gevers Magali Boyer Liv Heym Ulrike Brütt MUSETTE Christophe Robert* Brigitte Crépin Maillard François Lazarevitch Catherine Girard Damien Launay Sophie Gevers-Demoures Cécile Verolles BASSO CONTINUO Michèle Sauvé Alix Verzier VIOLONCELLO Emmanuel Resche* David Simpson FLUTES VIOLAS I Serge Saitta* CONTRABASS Galina Zinchenko Charles Zebley* Jonathan Cable Simon Heyerick OBOES I THEORBO, LUTE VIOLAS II Pier Luigi Fabretti Thomas Dunford* Kayo Saito Yanina Yabubsohn Brian Feehan Deirdre Dowling OBOES II HARPSICHORD VIOLAS III Machiko Ueno Béatrice Martin Jean-Luc Thonnerieux Vincent Blanchard Samantha Montgomery *Musicians on stage BASSOONS Claude Wassmer Evolène Kiener

Co-produced with the support of the SELZ Foundation, Théâtre du Capitole de Toulouse, Théâtre de Caen, and Centre de Musique Baroque de Versailles

Les Arts Florissants receives financial support from the Ministry of Culture and Communication. Since January 2015, the ensemble has been artist in residence at the Philharmonie de Paris.

The American Friends of Les Arts Florissants support all its activities.

Thanks to the support of The Danny Kaye and Sylvia Fine Kaye Foundation, the Baroque L1VE Xperience program of Les Arts Florissants allows a group of teenagers to discover the concert under the best conditions and to continue the experience on the Internet. Who’s Who

WILLIAM CHRISTIE (conductor), a at the Festival d’Aix en Provence, including harpsichordist, conductor, musicologist, and Orlando (BAM, 1996 Spring), The Magic Flute, teacher, is the inspiration behind one of the and Semele. Carsen’s numerous works for most exciting musical adventures of the last drama theater include Brecht’s Mother Courage 30 years. Born in Buffalo, Christie studied at and Her Children for Piccolo Teatro di Milano, Harvard and Yale Universities and has lived Wilde’s Lady Windermere’s Fan for Bristol in France since 1971. He founded Les Arts Old Vic Theatre, and Stoppard’s Rosencrantz Florissants in 1979 and received major public and Guildenstern Are Dead in New York. For recognition in 1987 with the production of Atys Théâtre du Châtelet, Paris, Carsen has directed at the Opéra Comique in Paris (the production’s Ute Lemper’s show Nomade, Bernstein’s US debut was presented at BAM in 1989; its Candide, and Loewe’s musical My Fair Lady. much-anticipated revival was presented at BAM He staged Andrew Lloyd Webber’s Beautiful in September 2011). His pioneering work has Game (Cambridge Theatre, London) and Sunset led to a renewed appreciation of 17th- and 18th- Boulevard (Great Britain tour). century French repertoire. He is equally adept at other European repertoire and has given many RADU BORUZESCU (scenic design) worked acclaimed performances of works by Monteverdi, with his wife Miruna as a scenographer and Rossi, Scarlatti, Purcell, Handel, Haydn, and costume designer since the start of his career. Mozart. His extensive discography (more than They worked together on the production of 100 recordings, many of which have won Les Fêtes Vénitiennes until Miruna’s death awards in France and abroad) with Harmonia in April 2014. They both graduated from the Mundi and Warner Classics/Erato is proof of this Academy of Visual Arts in Bucharest and were versatility. Christie has a rich operatic career and involved in numerous productions: La Princesse has collaborated with renowned directors such Turandot, L’Atlantide (Théâtre National de as Jean-Marie Villégier, Robert Carsen, Alfredo Chaillot), La Mouette, Le Canard sauvage, Ce Arias, Jorge Lavelli, Graham Vick, Adrian Noble, soir on improvise (Théâtre de la Ville de Paris), Andrei Serban, and Luc Bondy. In great demand Arrabal (Théâtre National de la Colline), Così as a guest conductor, he has appeared with the fan tutte, Carmen (Welsh National Opera), Don Berlin Philharmonic, Orchestra of the Age of Giovanni, Die Zauberflöte, Rigoletto (Aix-en- Enlightenment, Metropolitan Opera of New York, Provence Festival), Fidelio (Nederlandse Opera Zurich Opernhaus, and Opéra National de Lyon. and Maggio Fiorentino), Adelson e Salvini, La Christie is Commandeur de l’Ordre de la Légion Damnation de Faust, Parsifal (Bonn Opera), Il d’Honneur as well as an Officier de l’Ordre Trovatore (Bregenzer Festspiele), and a number des Arts et des Lettres. He was elected to the of collaborations with R. Carsen. They have Académie des Beaux-Arts in 2008 and received collaborated with many stage directors such as the 2005 Georges Pompidou Prize as well as the Arrabal, Bourseiller, Ciulei, Nureyev, Pintilie, Liliane Bettencourt Choral Singing Prize awarded and Regy. Radu and Miruna Boruzescu also by the Académie des Beaux-Arts in 2004. participated in several film projects, especially Les Noces de Pierre, selected at the Cannes ROBERT CARSEN (director; ligthing design), Festival, Felix et Otilia at the Venice Festival, and a Canadian native, studied at The Old Vic Un été inoubliable. Theatre school in Bristol, England, and has directed productions at the world’s major opera ED WUBBE and SCAPINO BALLET houses, including the Metropolitan Opera (choreographer; dancers) is acclaimed for (Eugene Onegin, Mephistopheles, Falstaff), La dance that is a virtuoso combination of Scala (Dialogue of the Carmelites), and Paris classical technique and the bold freedom of National Opera (Manon Lescaut, Lohengrin, contemporary dance. Wubbe’s full-length dance Alcina, Les Boréades—BAM, 2003 Spring). and music production, Pearl (2012), inspired He won the distinguished Carl Ebert Award for by the baroque period and live accompanied his work at the Glyndebourne Festival Opera by Combattimento Consort Amsterdam, was and was appointed a French Chevalier des Arts highly successful. Rameau, his first production et des Lettres in 1996. In addition, Carsen as resident choreographer in 1990, broke with has produced Tom Stoppard’s Rosencrantz conventional ballet aesthetic. After Wubbe and Guildenstern Are Dead in New York, and became artistic director in 1992, the company directed a number of celebrated productions began to build a new repertoire. In 1992 Who’s Who

Wubbe’s Kathleen made a splash, and his full- A. Serban (Werther, Vienna). In 2000 she length Perfect Skin was presented in 1993. He launched a renowned couture label. In 2005 she often draws inspiration from icons of Western directed, choreographed and was light designer culture—Romeo&Julia (1995), Nico (1997), for the Luxicantica event at the Altaroma Fashion The Schliemann Pieces (1998), Tsjaikovski Week in Rome. Her creations were displayed (2002), Orfeo Shows/Operation Orfeo (2003), at the O’dino exhibition at the 2009 Spoleto Paramount (2005), Songs for Drella (2011, Festival and were photographed by Vogel and in collaboration with Marco Goecke), and A. Lo Priore and exhibited at the Tribeca Film Pearl (2012)–and sets abstract dance within Festival. Among her projects is CO2 (La Scala in an associative narrative or theme. In much of Milan). Wubbe’s work, tension is produced by working with opposites, resulting in multiple layers. PETER VAN PRAET (lighting design), of Music, dance, décor, and drama combine to Belgium, created the lighting design for Iphigénie form a new whole. Wubbe collaborates with en Tauride (2007) and Falstaff (2012) for those in other artistic disciplines: designers, the Royal Opera in collaboration with Robert composers, architects, DJs, and VJs. An example Carsen, who also directed the productions. is MANYFACTS (2001), in collaboration with He created the lighting design for La Fura dels MVRDV (architects) and Wieland & Gouwens Baus’ Oedipe, performed by the Royal Opera (computer graphic designers), which offered in 2016 and originally created for La Monnaie, a vision of the city of the future. MANYFACTS Brussels. Van Praet began his career as the was created for Rotterdam 2001, European manager of the technical lighting department Cultural Capital. In Wubbe’s new dance of Vlaamse Opera. He regularly collaborates concept—the annual performance of TWOOLS, a with Carsen; their credits include Jenufa, Kát’a 75-minute continuous dance spectacle—various Kabanová, The Cunning Little Vixen, The choreographers create short dances performed Makropulos Affair, and Battistelli’s Richard III with rapid décor changes, linked together by (Vlaamse Opera); Fénelon’s JJR, Citoyen de Wubbe. Since 2004, Wubbe has been artistic Genève (Geneva); Rusalka and Capriccio (Paris director of the Internationaler Wettbewerb für Opéra); Fidelio (Amsterdam and Florence); Tosca Choreographen Hannover. In 2006 he began (Liceu, Barcelona); Der Rosenkavalier (Salzburg the Scapino Production Prize; winners make a Festival); La Traviata (La Fenice, Venice); Elektra 10-minute piece at Scapino for the TWOOLS (Tokyo); Iphigénie en Tauride (Lyric Opera of series. He has worked on film projects such as Chicago, San Francisco and Canadian Opera); Embracing Time (2005), Lost (2001), Enclosed The Turn of the Screw (Theater an der Wien); (2000), and Single Manoeuvres (1999). Wubbe Rinaldo (Glyndebourne Festival); and Candide has created more than 40 works for Scapino (Théâtre du Châtelet, La Scala, Milan, and Ballet, which celebrates its 70th anniversary this English National Opera). Van Praet also works year with the production TING!. It is the oldest regularly with La Fura dels Baus; credits include and one of the best-known dance companies Der Ring des Nibelungen (Valencia) and Le in the Netherlands and Wubbe and company Grand Macabre (Liceu, La Monnaie, Brussels, members have received a number of awards and Rome Opera, and ENO). For director Pierre Audi merits. his lighting designs include Orlando furioso (Paris and Nice) and Les Troyens (Dutch National PETRA REINHARDT (costume design) has Opera). Further opera credits include Der Ring designed the costumes for numerous directors des Nibelungen for Teatro Colón, Buenos Aires; such as R. Carsen (Die Zauberflöte, Baden The Turn of the Screw in Lyon; and Don Giovanni Baden, Opéra Bastille), J. Solfaghari (Eine in Perm, all directed by Valentina Carrasco. Nacht in Venedig, Dresden), C.S. Zheng (Nixon in China, Châtelet; Farewell My Concubine, MAGALI LÉGER (soprano; La Raison, Lucile, Beijing), J. Schaaf (Marie Victoire, Berlin; La Lucie) studied vocals with Christiane Eda-Pierre Tosca, Dresden, Die Fledermaus, Amsterdam), and Christiane Patard at the Conservatoire J. Cura (Un Ballo in Maschera, Cologne; National Supérieur de Musique in Paris, where La commedia è finita, Rijeka), W. Friedkin she was awarded a Premier Prix degree in 1999. (Salome, Das Gehege, Munich), K.M. Brandauer In 2003, she was nominated in the “Revelation” (Lohengrin, Cologne; Die Dreigroschenoper, category at the Victoires de la Musique. She Berlin; Mario und der Zauberer, Sicily), and has been a regular on major concert and opera Les Fêtes Vénitiennes. Photo by Vincent Pontet Who’s Who

stages (Lyon, Nantes, Metz, and Rouen Operas, She graduated from Paris Conservatoire (Baroque Opéra Comique, Grand Théâtre de Luxembourg, Music; Howard Crook and Kenneth Weiss’ Châtelet, Cité de la Musique, Lincoln Center, classes). Fonnard debuted with Le Concert Bologna’s Teatro Comunale, Vienna, Aix-en- d’Astrée (Emmanuelle Haim) for Opera of Lille in Provence and Beaune Festivals, etc.), with Purcell’s Fairy Queen. She also performed with baroque, contemporary, classical, and romantic Le Poème Harmonique (Vincent Dumestre), the repertoires. She has worked with names such Ensemble Vocal Aedes (Matthew Romano), Les as Marc Minkowski, Evelino Pido, William Arts Florissants (William Christie), notably in Christie, Macha Makeïeff, Rodrigo Ruiz, and Atys (Flora), Dido and Aeneas (Belinda), Acis Jérôme Deschamps, and has sung in Mignon, and Galatea (Galatea), Acteon (Diana), and Die Lustige Witwe, Le Roi Malgré Lui, L’Etoile, Daphnis and Ægle (Ægle). She has performed Thaïs, Werther, Don Pasquale, L’Elisir d’Amore, at the Royal Opera of Versailles, Festival d’Aix- Les Pêcheurs de Perles, Porgy and Bess, Die en Provence and in Europe, China (Forbidden Jakobsleiter (Schönberg), Elephant Man (Laurent City Concert Hall, Beijing), Russia (Bolshoi), Petitgirard), Médée (Michèle Reverdy, premiere), the US (Lincoln Center, BAM, New York City), Belle Hélène, and Orpheus in the Underworld, Mexico (Palacio de Bellas Artes), and in South as well as Mozart’s Le Nozze di Figaro, America (Brazil, Colombia, Chile). In concert Idomeneo, and Die Entführung aus dem Serail. repertoire, she sings Mozart’s Requiem, Haydn’s She released two records with her baroque Nelson Mass, Saint-Saëns’ Christmas Oratorio, ensemble Rosasolis in 2009 and 2010—one of Beethoven’s Mass in C minor and Poulenc’s Handel motets and sonatas, the other Pergolesi’s Stabat Mater. Fonnard’s recording of Prévert & cantatas. Léger regularly appears in orchestral Kosma songs is available on Anima Records. In concerts (including a European Handel tour with 2015, Fonnard was the special guest of Théâtre Le Concert d’Astrée), and with pianists such de Caen to celebrate European Opera Days. as Rémy Cardinale and Marcela Roggieri, in Other projects include concerts with Les Folies repertoires spanning from Chopin to Piazzola. Françoises (cond. P.C. Akenine), and Eurydice in She has worked for many years with the Gluck’s Orphée et Eurydice at Opéra de Dijon. composer and pianist M. Levinas, with whom she has recorded Fauré’s melodies, including RACHEL REDMOND (soprano; Irène, Léontine, La Bonne Chanson, and whose opera premiere, Flore) was born in Glasgow and discovered her Metamorphosis, based on Kafka’s short story, love of singing with the Junior Chorus of the she performed in 2011 at the Lille Opera. Royal Scottish National Orchestra; she studied Recently, she sang Poulenc’s Gloria with the at the Music School of Douglas Academy and Orchestre National des Pays de la Loire in Nantes received her BA Hons from the Royal Scottish and Angers, and Le Roi David at the Théâtre du Academy of Music and Drama, where she Capitole in Toulouse. In addition to Les Fêtes was awarded the Florence Veitch Ibler prize Vénitiennes, this season she also appears in for oratorio performance. She earned an MA multiple concerts, including Pergolesi’s Stabat with Merit at the Guildhall School of Music Mater with the Avignon Provence Orchestra, and and Drama. As a member of Jardin des Voix, with the ensembles Rosasolis and Contraste. the academy for young singers of Les Arts Florissants, Redmond performed concerts under ÉLODIE FONNARD (soprano; Iphise, La the direction of William Christie and Paul Agnew Fortune) emerged in the public eye in William in France, Spain, and New York. At Christie’s Christie’s Jardin des Voix and is one of the invitation she débuted at Opéra Comique, most prominent sopranos on the new baroque Paris, performing Iris in Atys. Also with Les Arts scene. She will have performed in Les Fêtes Florissants, she sang the Angel in a European Vénitiennes at Opéra Comique, Théâtre de tour of Jephtha, and Captif in David et Jonathas Caen, and Capitole of Toulouse, in addition to at the Aix-en-Provence International Festival BAM. Récent engagements include Beethoven’s and the Edinburgh Festival. She performed in Leonore Prohaska at National Opera Montpellier La Tragedie Lyrique, a concert spanning French with Laurence Equilbey and revivals of Une baroque opera with Paul Agnew and Les Arts Journée avec Le Roi Soleil with William Christie/ Florissants, and Damon in Acis and Galatea, Les Arts Florissants at the Paris Philharmonie First Witch in Dido and Aeneas, and programs and BOZAR Brussels. Trained as a pianist, she of Purcell and Boismortier at Christie’s inaugural studied singing with Luc Coadou and Alain Buet. Festival at Thiré. Redmond returned to the Who’s Who

Opéra Comique for Les Fêtes Vénitiennes with Innsbruck Festival to sing Mozart’s Coronation Les Arts Florissants, followed by her début at Mass, Giuletta in Zingarelli’s Giuletta e Romeo the Théâtre du Châtelet in Paris in La belle in the Schwetzingen Festival, and Zweite Dame Hélène. Other recent engagements include in Zauberflöte with Opera Dijon in Dijon, Paris, Isbé (Centre de Musique Baroque de Versailles, Limoges, and Caen. Hungary), the revival of Les Fêtes Vénitiennes (Les Arts Florissants, Théâtre du Capitole, REINOUD VAN MECHELEN (tenor; Thémir, Toulouse), concerts with Collegio Ghislieri at Un Masque, Zéphyr) was born in 1987 in Malta Festival and at BOZAR, Brussels; with Leuven and studied singing at the Conservatoire Les Cris de Paris in Israel in Egypt (Beaune, Royal in Brussels. In 2007 he took part in the Lessay, La Chaise-Dieu Festivals), Les Grands Académie Baroque Européenne in Ambronay, Motets de Rameau et Mondonville (Les Arts performing Plutus in Le Carnaval et la Folie by Florissants, tour), Beatus Vir (Collegio Ghislieri, Destouches under the baton of Hervé Niquet. In La Chaise-Dieu and Ambronay Festivals), 2011 he was a member of Le Jardin des Voix of Actéon and Caecilia, Virgin and Martyr, and a William Christie and Paul Agnew, participating recording of Charpentier Oratorio, all with Les in numerous concerts; he performed the role Arts Florissants. She sang The Fairy Queen of Zéphir in Atys on concert tour with Les Arts and Pygmalion (European Union Baroque Florissants, with which he has performed, Orchestra), Esther (Wigmore Hall), St. Matthew among others, at the Festival d’Aix-en-Provence, Passion (Dunedin Consort, Dunblane Cathedral), Edinburgh Festival, and Château de Versailles. Chichester Psalms (Royal Albert Hall, BBC He has collaborated with ensembles such as Scottish Symphony Orchestra), Saul (Aldeburgh), Le Concert Spirituel, Les Talens Lyriques, Le Jenkins’ Gloria, and Beethoven Mass in C (Se, Poème Harmonique, Il Gardellino, L’Arpeggiata, Lisbon), among others. Redmond’s plans include Ausonia, Ludus Modalis, B’Rock, Ricercar performances of St. John Passion (Ensemble Consort, Scherzi Musicali, Insula Orchestra, Aedes) and Bach Cantatas, French Motets, all European Union Baroque Orchestra, and with Les Arts Florissants, St. John Passion with Royal Philharmonic in Liverpool. On the opera Ensemble Aedes, The Fairy Queen (Barcelona stage he recently performed Castor et Pollux with Jordi Savall), a program based on La at the Théâtre des Champs-Elysées, Les Descente d’Orphée aux Enfers with Ensemble Fêtes Vénitiennes at the Opéra Comique, and Correspondences, and performances of works Dardanus at Opéra National de Bordeaux. by Handel, Jomelli, Pergolesi, and Vivaldi with Collegio Ghislieri. CYRIL AUVITY (countertenor; Maître de Danse, Suivant de la Fortune, Adolphe) received a EMILIE RENARD (mezzo-soprano; La Folie, degree in physics at Lille University, completed Isabelle) studied at Royal Scottish Academy his musical studies at the conservatory in Lille in of Music and Drama and Benjamin Britten 1999, and won the international singing contest International Opera School of the Royal College in Clermont Ferrand that year. Chosen by William of Music. Renard was a member of Le Jardin Christie, he started his career at a young age, des Voix 2013, working with William Christie, performing Telemaco in Monteverdi’s Ritorno Paul Agnew, and Les Arts Florissants. Busy on di Ulisse in Patria in Aix en Provence Festival both concert and operatic platforms, highlights and throughout Europe and the US. He received include Upon Silence by George Benjamin numerous invitations to international festivals (Messiaen Festival, France), Dido (Dido and and opera houses: Persée with Christophe Aeneas with Christie), Junon in Platée with Les Rousset; Gli Strali d’Amore with Gabriel Garrido; Arts Florissants (Theater an der Wien, Opéra The Fairy Queen with Rousset (Spain tour); Comique and New York), her debut as Zweite Persée and Médée in Toronto; Dido and Aeneas Dame in Die Zauberflöte (Nantes-Angers Opera), (Nancy Opera House and Aldeburgh Festival); Amore in L’incoronazione di Poppea (with and the title role in Actéon with Emmanuelle Laurence Cummings, Opera North), Ersinda Haïm. His long collaboration with Christie in Porpora’s Il Germanico in Germania (with continued with new productions such as Les Alessandro de Marchi, Innsbruck Festival), and Arts Florissants and David & Jonathas (title Valetto in L’incoronazione di Poppea (Theater an role). He debuted the title role in Pygmalion in a der Wien). Future engagements include the title co-production between Nancy Opera House and role in Armide for the Musikfestspiele Potsdam, Théâtre du Châtelet under the baton of Hervé Who’s Who

Niquet and a new production of Destouches’ MARCEL BEEKMAN (tenor; Maître de Callirhoé in Montpellier. He took part in a big tour Musique), a Dutch tenor, has appeared with the with Le Medecin malgré lui and debuted in Don Berliner Philharmoniker, Royal Concertgebouw Giovanni (Don Ottavio) with Emmanuel Krivine; Orchestra, Orchestra of the 18th Century, Les he performed the same role in a stage production Arts Florissants, Musica Antiqua Köln, De in Montpellier where the following year he sang Nederlandse Bachvereniging, Staatskapelle Tamino in The Magic Flute. At Lille Opera he sang Dresden, and the ASKO|Schönberg under Basilio in Le Nozze di Figaro with Emanuelle Haïm conductors such as Sir Simon Rattle, William and Le Concert d’Astrée. Christie, Christophe Rousset, John Adams, and Peter Dijkstra. Recent opera appearances SEAN CLAYTON (tenor; Démocrite) trained at include L’Incoronazione di Poppea and Il ritorno Birmingham Conservatoire with Julian Pike and d’Ulisse in patria (Theater an der Wien), Die continued his studies at the Royal College of Meistersinger von Nürnberg (Dutch National Music in London with Neil Mackie. In 2009, he Opera), and L’écume des jours (Oper Stuttgart). was invited to join Le Jardin de Voix, the young In 2014, he debuted in the title role of Rameau’s artists program of Les Arts Florissants directed Platée (Theater an der Wien and Lincoln Center), by William Christie. He has sung several roles followed by Les Fêtes Vénitiennes with Les Arts with them and for numerous choral projects, Florissants (Opéra Comique, Paris), Canticum including music of Scarlatti and Charpentier. Sacrum (SWR Sinfonieorchester Baden-Baden Since 2011, Clayton has been a part of Les und Freiburg), and Benvenuto Cellini (Dutch Arts Florissants’ Monteverdi Madrigal project National Opera). In 2015/16, he returns to directed by Paul Agnew, performing the eight Theater an der Wien in L’Incoronazione di books all over Europe. Recent and current opera Poppea with Jean-Christophe Spinosi, Les engagements include Messenger in Theodora Arts Florissants in Toulouse with Les Fêtes (Théâtre des Champs Elysées, Paris), Carlos Vénitiennes, Mozart’s Requiem (Noord and Tacmas in Les Indes Galantes (Lutosławski Nederlands Orkest, Israel Camerata), and Concert Studio Warsaw, Poland), Démocrite in premieres the role of Pope Innozenzo XI in Les Fêtes Vénitiennes (Opéra Comique, Paris), Andriessen’s new opera Theatre of the World at Berger in La Naissance d’Osiris (Théâtre de Dutch National Opera. Beekman has performed Caen), Berger in Actéon, Summer in The Fairy new works by composers Elmer Schönberger, Queen (Glydebourne Opera), Secrecy in The Roderik de Man, Maarten Altena, and António Fairy Queen (Festival Aix-en-Provence), Indian Chagas Rosa. He sang Ricardo in the world Boy in Indian Queen (Paris), Blindman in Petite première of Dutch composer Martijn Padding’s Messe Solonnelle (Nico and the Navigators, opera Laika (Dutch National Opera) and Mucius Berlin), and roles in Susannah, Orfeo, Dido and in the Dutch premiere of Glanert’s Caligula for Aeneas (English Touring Opera); The Lighthouse the NTR Zaterdagmatinee at the Concertgebouw (Montepulciano Festival); King Arthur (Der Amsterdam. At the Holland Festival he appeared Lautten Compagney); L’occasione fa il ladro in the premiere of Calliope Tsoupaki’s St. Luke (Wexford Festival Opera); Semele (British Youth Passion with Nieuw Ensemble and conductor Opera); Orfeo (English Bach Festival Trust); The Ed Spanjaard. Festivals include Salzburg Easter Merry Wives of Windsor (Opera South), and La Festival, Utrecht Ancient Music Festival, Festival pietra del paragone and Falstaff (Stanley Hall de La Chaise-Dieu, and Saito Kinen Festival Opera). Clayton has performed all over the world Japan. His extensive discography includes Die including at Opera Garnier, Opera Comique, Entführung aus dem Serail, Le Nozze di Figaro, and Théâtre des Champs Elysées in Paris, L’Ipermestra, Les Indes Galantes, the title role Festival of Aix-en-Provence, Opera National de of Willem Breuker’s Jona, and in Salome, Il Bordeaux, Bolshoi Theatre in Moscow and the Prigioniero, Isidora Žebeljan’s chamber opera Marinsky Theatre in St. Petersburg, BAM and Maratonci, and in Netherlands first opera, Lincoln Center in New York, Radialsystem V Granida (P.C. Hooft). in Berlin, Royal Albert Hall for the BBC Proms and the Barbican in London, Auditorio Nacional JONATHAN McGOVERN (baritone; Alamir, de Música in Madrid, Palau de la Música in Damir, Borée), a graduate of King’s College Barcelona, the Mozarteum in Salzburg, the London and the Royal Academy of Music, National Conert Hall in Dublin, and the Wexford performs in Les Fêtes Vénitiennes with Les Festival Opera. Arts Florissants/William Christie in Toulouse, Who’s Who

and in a role and company debut as Pelléas Paragone (Châtelet and Teatro Reggio, Parma); (Pelléas et Mélisande) in a new production for Narbal in Les Troyens in Strasbourg; and the English Touring Opera. He soon makes debuts title role in Le Nozze di Figaro at the Opéra de with Staatsoper Hamburg and Garsington Lyon. Recent engagements include Alcina, La Opera. Recent engagements have included a Traviata, and Platée at Opéra National de Paris. debut as Junior in Bernstein’s A Quiet Place In 2009 he debuted as Don Giovanni and sang (Ensemble Modern/Kent Nagano, Konzerthaus Figaro at Opera Ireland in Dublin. Last season he Berlin, Konzerthaus Dortmund, and Dresdner sang in La Cenerentola (La Monnaie, Brussels), Musikfestspiele). He sang Figaro in Il barbiere Hippolyte et Aricie, and Carmen at Théâtre du di Siviglia (Verbier Festival), and the title roles Capitole, Toulouse. Other engagements: Jeanne in Il ritorno d’Ulisse under Christian Curnyn and au Bûcher (Orchestre National de Lyon); Les Telemann’s Orpheus under Ian Page (London Paladins (Basel); Die Zauberflöte (Teatro Real), Handel Festival). Concert highlights have Madrid; La Bohème (Opera Zuid, Belgium); included Beethoven’s Choral Fantasy (Verbier and l’Incoronazione di Poppea and La Forza Festival under Charles Dutoit), Carmina Burana del Destino (Opéra de Rouen); among others. (Teatro dell’Opera di Roma), the NDR Podium He graduated in musicology from the Sorbonne der Jungen under Andrew Litton, and Mahler’s and finished his studies at Conservatoire Lieder eines fahrenden Gesellen (Tampere National Supérieur de Musique in Paris. Lis was Philharmonic Orchestra under Daniel Cohen). nominated for the Revelation Artiste Lyrique At English National Opera McGovern was in of the Year in 2004. He recently sang Teucer three world premieres: Anderson’s Thebans in Dardanus (Opéra de Lille) and Jupiter in under Edward Gardner, Muhly’s Two Boys under Platée (Opéra National du Rhin, Strasbourg), Rumon Gamba, and van der Aa’s The Sunken Commendatore in Don Giovanni (Tourcoing Garden under André de Ridder. In recital, he and Théâtre des Champs Elysées, Paris), and has performed with pianists Malcolm Martineau, Escamillo in Carmen (Opera Festival in Skopje Simon Lepper, James Baillieu, Timothy End, Macedonia). Lis in 2010 debuted as Zuniga and James Cheung. Recently he appeared at (Carmen) in Caracas, Los Angeles, and at Teatro Oxford Lieder Festival, London English Song alla Scala; appeared at Opéra National de Paris Festival, and the Lichfield Festival. This season, in Ariadne auf Naxos; and sang his first Marcel he returns to Wigmore Hall, debuts at Musée in Les Huguenots (La Monnaie, Brussels). In d’Orsay, and performs Aeneas (Dido and recent seasons he appeared in a world premiere Aeneas) under Trevor Pinnock at the Wigmore of Philippe Fénelon in JJR Citoyen de Genève Hall, Alidoro in Orontea with La Nuova Musica (Grand Théâtre, Geneva) and at Opéra de Paris under David Bates, and Pilate in Rossi’s Per in Hippolyte et Aricie, Carmen, L’Enfant et les la settimana santa at the Spitalfields Music Sortilèges, and La Cenerentola, and debuted Festival under C. Curnyn. McGovern has received at Glyndebourne Festival in Hippolyte et Aricie. prestigious awards: the 2010 Gold Medal and More recently he was at Paris Opera with First Prize at the Royal Over-Seas League Music Alceste, Platée, Le Roi Arthus, and more. He Competition, the 2011 Jean Meikle Duo Prize sang at Festival de Radio France in Montpellier at Wigmore Hall/Kohn Foundation International in Caterina Cornaro by Donizetti, Les Fêtes Song Competition, and Second Prize at the 2011 Vénitiennes with Les Arts Florissants/Christie, Kathleen Ferrier Awards. Les Indes Galantes in Munich, and Ariodante in Toronto. FRANÇOIS LIS (bass; Le Carnaval, Léandre, Rodolphe), a French bass, performed in recent GEOFFROY BUFFIÈRE (bass; Héraclite), seasons as Don Fernando in Fidelio (Orchestre following musical studies at Maîtrise de Notre- Philharmonique de Radio France) and Zuniga in Dame de Paris and at CRR Paris (studying with Carmen at Châtelet Paris; the world premiere of Howard Crook and Kenneth Weiss), joined La Messe de Chimay at Festival de Chartres; Die the CNIPAL Marseille. He can be heard in Zauberflöte for l’Opéra de Nancy and Ensemble concert and on CDs in repertoires from early Matheus; Pope Clement VII in Benvenuto Cellini and Renaissance polyphonies (with Clément for L’Opéra National du Rhin in Strasbourg; Frère Janequin, D. Visse, Huelgas, and P. van Nevel Laurent in Romeo et Juliette (Polish National ensembles) to contemporary compositions (with Opera); his debut at the Opéra National de Paris the Ensemble Intercontemporain and Susanna as Jupiter in Platée; Asdrubalde in La Pietra del Mälkki). He has worked with specialists of Who’s Who

the Baroque repertoire such as Hervé Niquet, Baroque repertoire that had long been neglected. William Christie, Emmanuelle Haïm, Rinaldo Today that repertoire of the 17th and 18th Alessandrini, Masaki Suzuki, and Vincent centuries is widely performed and admired. Dumestre. He also appears in recitals, especially Since 2007, William Christie has regularly with Jeff Cohen. He regularly sings on French passed the conductor’s baton over to British stages (Rouen, Caen, Avignon, Opéra Royal de tenor Paul Agnew. Les Arts Florissants has Versailles, Aix-en-Provence Festival) and abroad launched several education programs for young (BAM, Aldeburgh Britten Festival, Edinburgh musicians; the Academy of Le Jardin des Voix, and Utrecht Festivals). As a member of the the Arts Flo Juniors program, and the partnership first Opéra Comique Académie, he has often with New York’s Juilliard School of Music. The sung at Salle Favart: David et Jonathas (under ensemble also organizes numerous events W. Christie) and Mârouf savetier du Caire aimed at building new audiences, designed for (conducted by Alain Altinoglu). He recently both amateur musicians and non-musicians, sang with Anne-Sofie von Otter in Die sieben adults as much as children. The ensemble has Todsünden at Sale Pleyel, and in Schumann’s produced an impressive discography: nearly 100 Manfred (con. Emmanuel Krivine, dir. Georges recordings (CD and DVD) and its own collection Lavaudan, Opéra Comique), in La Grande in collaboration with Harmonia Mundi. In 2012, Duchesse de Gerolstein (con. Christophe the ensemble created the annual festival Dans Grapperon, dir. Philippe Béziat, Théâtre de les Jardins de William Christie, in partnership l’Athénée), Le Bourgeois Gentilhomme (con. with the Conseil départemental de la Vendée. Christophe Coin, dir. Denis Podalydès), L’Orfeo Les Arts Florissants receives financial support (con. Sébastien d’Hérin, dir. Caroline Mutel, from the Ministry of Culture and Communication. Opéra de Massy), and La Troupe d’Orphée à La The ensemble has been artist in residence at Haye (van Veggel, Schwartzman). In addition, the Philharmonie de Paris since 2015. The he has sung in concerts with ensembles such American Friends of Les Arts Florissants support as Correspondances, Le Concert Spirituel, La all its activities. Rêveuse, Le Poème Harmonique, Pygmalion, Diabolus in Musica, and Accentus. He sang OPÉRA COMIQUE was founded in 1714 under the bass part in Weill’s Berliner Requiem at the the reign of Louis XIV. It is one of the oldest Festival Présence de Radio France. This season French dramatic and musical institutions along and the last he has interpreted le Grand Prêtre with the Opéra de Paris and the Comédie- de Jupiter in Castor et Pollux (con. Emmanuelle Française. Located in Paris in the charming Salle Haïm, Opéra de Dijon and Opéra de Lille), Achis Favart, Opéra Comique has produced the most and l’Ombre de Samuel in David et Jonathas famous pieces of French repertoire, as La Fille (con. D. Visse, Tourcoing), le Médecin in Pelléas du Regiment, La Damnation de Faust, Mignon, et Mélisande (con. Jean-Claude Malgoire), Carmen, Les Contes d’Hoffmann, Pelléas et Polydorus and le Père de famille in L’Enfance du Mélisande, L’Heure Espagnole, Les Mamelles Christ at the Opéra d’Avignon, Héraclite in Les de Tirésias, La Voix Humaine, and more. Opéra Fêtes Vénitiennes at the Opéra Comique and the comique as a genre is represented by the Opéra Capitole in Toulouse (dir. William Christie). Comique company. The term “comique” does not mean that laughter is compulsory. Rather, sung LES ARTS FLORISSANTS (orchestra and chorus) lines are interspersed with spoken drama. Opéra William Christie, musical director and founder comique stands in contrast with opera, which is Paul Agnew, associate musical director and sung throughout, and its specifics were taught associate conductor until 1991. Today, the Opéra Comique is one of Jonathan Cohen, associate conductor the favorite venues for Baroque artists and lovers An ensemble of singers and instrumentalists and promotes the French repertoire from early to specializing in the performance of Baroque contemporary music. music on period instruments, Les Arts Florissants is renowned the world over. Each season the ensemble gives around 100 concerts and opera performances in France and is an active ambassador for French culture abroad. Founded in 1979 William Christie, the ensemble has played a pioneering role in the revival of a YOU MAKE NAVIGATING THE ATLANTIC TERMINAL WORTH IT.

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ECBC-6144 BAM AD 5.25x8.375.indd 1 3/8/16 5:02 PM A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Apr 2016

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Wilde Again BAMcinématek . Photo: Keith Pattison . Photo: Keith Henry IV Part II . Photo courtesy Janus Films. Alex Hassell in Alex Black Girl L-R: Charlie Row, Rupert Everett, Cal MacAninch. Everett, Cal MacAninch. Rupert Charlie Row, L-R: Photo: Johan Persson David Hare shares his thoughts on The Judas Kiss, Ousmane Sembène’s Black Girl screens at starring Rupert Evertt BAMcinématek. by Brian Scott Lipton by Ashley Clark

DanceAfrica Abdel Salaam leads DanceAfrica on a vibrant celebration of Senegal. by Susan Yung

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Elizabeth Murray is the 2015—16 Winter/Spring BAMbill Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. If Only Cup is featured in Heart & Mind, an exhibition of works by Murray on view at BAM through Feb 14, organized by Pace Gallery in conjunction with BAM and Trisha Brown Dance Company. Murray’s visual design can be seen in this season’s presentation of Brown’s 2003 work PRESENT TENSE. For more information, please contact BAM Visual Art at [email protected] or 718.636.4101.

Elizabeth Murray (1940—2007) was born in Chicago and received a BFA (Art Institute of Chicago) and an MFA (Mills College, Oakland, CA). Murray’s paintings and drawings blur the distinction between abstraction and representation, and her shaped canvases challenge traditional concepts of painting. She received numerous honors, including the Skowhegan Medal for Painting (1986); a MacArthur Fellowship (1999), and a College Art Association Distinguished Artist Award for Lifetime Achievement (2006). Murray’s work has been the subject of more than 70 solo exhibitions worldwide. The Dallas Museum of Art organized a 1987 retrospective of her work, which traveled to Elizabeth Murray venues including the Museum of Fine Arts, Boston; Museum of Contemporary Art, Los If Only Cup, October 1997—January 1998 Angeles; Walker Art Center, Minneapolis; and Whitney Museum of American Art. Eliza- Oil on canvas and plywood, 68” x 72” beth Murray, the 2005 retrospective at MoMA, New York, traveled to Institut Valencià Photograph by Tom Barratt, courtesy Pace Gallery d’Art Modern in Spain in 2006. In 2007, her work was included in the Italian Pavilion © The Murray-Holman Family Trust / Artist Rights at the 52nd Venice Biennale, and she designed mosaic murals for two New York City Society (ARS), New York, courtesy Pace Gallery, subway stations—59th St./Lexington Ave. in Manhattan and 23rd Street/Ely Ave. in New York Queens. Her work is featured in collections including Art Institute of Chicago; Detroit Institute of Arts; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Nelson-Atkins Museum of Art, Kansas City; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; and Whitney Museum of American Art, Metropolitan Museum of Art, and MoMA, New York. @BAM_Brooklyn #TheJudasKiss

Wilde Again Everett, Cal MacAninch. Photo: Johan Persson Rupert Charlie Row, L-R: By Brian Scott Lipton about what inspired the work and what has changed over the past two decades. Life is full of second chances, even if we don’t always make the most of them. Take the case Brian Scott Lipton: What was your original of the great Irish dramatist Oscar Wilde, whose inspiration for writing The Judas Kiss? reputation never quite recovered after his ill- conceived love affair with the young poet, Lord David Hare: I’d admired Wilde since I was 10 Alfred “Bosie” Douglas. Or, conversely, take years old. I tried to study him at university, but the renowned British playwright David Hare, I was told by my Cambridge English literature whose very play on that subject, The Judas Kiss, supervisor that Wilde was not serious, and that received tepid reviews on Broadway in 1998, if I wrote my fi nal year dissertation on him, I but which has been since revived to glorious would be a laughing stock. I ignored the advice. reviews by director Neil Armfi eld and star Rupert I never wanted to write biographical plays but I Everett (whom the UK Telegraph says “was born had always been fascinated by the question of to play Wilde”). This acclaimed production now why Wilde turned down the opportunity to run comes to the BAM Harvey from May 11 through away and avoid prosecution. But I also loved the June 12. For BAMbill, I recently spoke to Hare period of his life after prison when, in exile and #TheJudasKiss May 11—Jun 12 with apparent perversity, he returned to the lover DH: The 1998 production was a sort of who had precipitated his downfall. I decided legendary mess. It wasn’t anybody’s fault. Or that making a play out of these two separate, maybe it was all our faults, mine as much as apparently incomprehensible actions would be anyone’s. Sometimes, with the best intentions, exciting. everything goes wrong. That’s life. So when I saw Neil Armfi eld’s Sydney production for Belvoir BSL: Many of your plays deal with outsiders, Street Theatre, with [the late] Bille Browne as activists, and artists—all of which describe Oscar Wilde, I felt overwhelming relief that I wasn’t Wilde. How do you feel The Judas Kiss fi ts into mad since the play on stage at last resembled your oeuvre? the one in my head. When I read what Chekhov went through on The Seagull—disaster in St DH: I was fi rst drawn to Wilde by his insistence Petersburg, vindication in Moscow—I think how that morality does not consist of telling others lucky he was to wait only two years. I waited 14 what to do, it’s what you do yourself. This is my years! own view. If you think of all the greatest women and men in history, they illuminate by example, BSL: How much of the success of this current not by instruction. They keep their noses out of production relies on Rupert Everett as Wilde? other peoples’ business. They don’t judge others, they judge themselves. DH: When Rupert offered to play the part in London, I insisted Neil direct it. Some people BSL: What kind of research did you undertake believed that I must have re-written it to achieve before writing the play? so complete a transformation, but in fact every word was the same. The reality is that Rupert DH: Wilde is not just a great writer, but he is giving a great performance, and how many of is the inspiration for great writing in others. those do we see? There are loads of good books about him, most especially those by his grandson Merlin Holland. Brian Scott Lipton is a noted writer about the But remember, my play dramatizes two events performing arts, culture, and fashion based in which happened behind closed doors, so fi nally I New York City. depend on imagination, not research.

BSL: How long did it take to write the play?

DH: The play was fi rst done in London in 1998. I spruced it up a bit for Broadway later that spring. The fi rst act was very diffi cult to write because it contains so much information which I was trying to convey painlessly. But the second act wrote itself.

BSL: In an age where homosexuality is not a crime in many countries, and legalized gay marriage is spreading across the world, what relevance do you feel the play has in 2016?

DH: Honestly, Wilde and Bosie had both been having sex with boys, some of whom who were under-age. Is that any more acceptable today? I don’t think so. As Bosie says, the paradox of Wilde is that he’s a gay hero who never considered telling the truth.

BSL: How different does this production feel to you than the original one? Rupert Everett. Photo: Perou Rupert TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. @BAM_Brooklyn @BAM_Brooklyn #BAMcinematek Black Girl. Photo courtesy Janus Films.

The Mask is Mine

By Ashley Clark describe the lengths to which African fi lmmakers went to scrabble together budgets. Ousmane Sembène’s Black Girl (1966), based Black Girl opens with the image of a ship upon the director’s own short story, charts the approaching shore, accompanied by an ominous fortunes of an optimistic young Senegalese sound collage of viciously whipping winds and woman, Diouana (Mbissine Thérèse Diop), who the vessel’s demonically blaring horn—by the leaves her nation’s capital of Dakar to work for a time Diouana emerges, a mood of unease has bourgeois white family in a small town adjacent been conjured; it does not dissipate over the to the picturesque French Riviera. next hour. In her new home, Diouana is treated with brusque tolerance by her hosts, but their Widely considered the fi rst-ever African feature hospitality soon gives way to open hostility from fi lm, this absorbing 64-minute drama, shot in the icy matriarch (Anne-Marie Jelinck), and stark monochromatic tones, resonates equally indifference from her husband (Robert Fontaine), as a vivid character study and an incisive an ostensibly nice guy who fails to offer Diouana commentary on the pernicious inequalities of the necessary support as she slides inexorably postcolonial power relations between cultures. into depression. (Senegal became fully independent from France in 1960, six years before Black Girl, and three Having been promised work looking after her before Sembène’s debut short fi lm, the equally hosts’ children, Diouana is instead restricted unsentimental Borom Sarret, about the travails to grinding menial chores—the ritualistic rigors of a luckless wagoner. They screen together of which are captured largely in clinical mid- at BAMcinématek from May 18—24.) This shot by Sembène’s camera—and subjected to postcolonial complexity is refl ected in Black Girl’s open racism. In a grim, reverse spin on Alfred production history: its hyper-critical screenplay Hitchcock’s Vertigo, the mother is bent on was the only one ever rejected for production styling Diouana to refl ect her view of how the funding by the then-head of the French Ministry ideal postcolonial subject should appear: frowsy, of Cooperation’s Bureau de Cinema—the key supplicant, joyless—“You’re not going to a party,” funding body for Francophone African cinema— she tells Diouana, handing her an apron to on subject matter alone. Sembène invented replace her poignantly effervescent uniform of a the term “mégotage” (cigarette-butt cinema) to dress and high heels. CELEBRATE COMMUNITY

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Diouana is, unquestionably, a victim, but she Though Black Girl traffi cs in bracing realism, it is no mere blank. For one, she is vibrantly carries a powerful symbolic charge, embodied incarnated by non-professional actress Diop, most clearly in the form of the traditional African who was recommended to Sembène by a mask which the naive Diouana casually gifts photographer friend. (A seamstress by trade, to her new employers on her fi rst day. As the Diop made the majority of her own costumes.) mask gazes impassively from its lofty perch When the director judiciously cuts to screen- in the living room, it seems to haunt the drab fi lling close-ups of her plaintive, open face—tears room with pre-independence ghosts, as well as in her eyes, eyes to the sky—her pain registers like evoking Frantz Fanon’s metaphor of the “mask” a punch to the gut. Moreover, Sembène, already black people must wear in order to thrive in a the author of four successful novels by the time white world. Eventually, it becomes the object he made Black Girl, writes for Diouana a poetic through which Diouana’s eventual resistance internal monologue, through which she articulates is channelled. Finally, in the fi lm’s thrilling, her mounting frustrations with the pinched, sad spine-tingling coda, the mask, now in new world she inhabits: “What am I here? … Where are hands, is reconfi gured as an anti-assimilationist the people who live in this country?” totem, thrumming with the spirit of pro- African, anti-colonial resistance. In these last Meanwhile, a series of moving, interstitial moments, a downbeat saga is transformed into a fl ashbacks illustrate Diouana’s life in Dakar, transcendent, defi ant howl of hope. including her putative romance with a young student (Momar Nar Sene), and her excitement Ashley Clark is a freelance fi lm journalist and fi lm at being specifi cally selected by the mother, a programmer from London, based in New York. He one-time Dakar resident, to work in France. writes for Sight & Sound and VICE, among others; Diouana’s anticipation of a new life prefi gures and wrote the book Facing Blackness: Media and Minstrelsy in Spike Lee’s Bamboozled (The Critical the dreams of the young Senegalese couple in Press). He curated the BAMcinématek series Space is Djibril Diop Mambéty’s punky, colorful Touki the Place: Afrofuturism on Film and Behind The Mask: Bouki (1973), another classic African fi lm about Bamboozled in Focus (both in 2015). Follow him on postcolonial purgatory. Twitter @_Ash_Clark. . Photo courtesy Janus Films. Black Girl BAM Directory

STAY CONNECTED BAM Box Offi ce Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun 12–4pm (performance days only) 718.636.4182 BAM.org/blog [email protected] BAM Harvey Theater and BAM BAMwifi _forBK Fisher box offi ces open 90 minutes Lost & Found Facebook.com/BAMstage prior to curtain on performance 718.636.4150, Mon—Fri: 9am—5pm @BAM_Brooklyn days (same-date ticket sales and pick-up only). Restrooms BAMorg/video BAM Howard Gilman Opera House: Group Sales mezzanine and balcony level LOCATIONS For ticket orders of 10 or more (handicapped accessible: 718.623.7885 | [email protected] orchestra level and BAMcafé) PETER JAY SHARP BUILDING 30 Lafayette Ave BAM Rose Cinemas BAM Harvey Theater: BAM Howard Gilman Opera House Advance Ticket Sales: lobby and gallery level Lepercq Space/BAMcafé 877.789.MOVIE BAM Rose Cinemas BAM.org/#fi lm BAM Fisher: Hillman Attic Studio Info: 718.636.4100 lower lobby, 4th fl oor, and 7th fl oor

BAM HARVEY THEATER Box offi ce opens 30 minutes before Headphones 651 Fulton St the fi rst screening of the day. BAM offers infra-red listening devices for the hearing impaired; please BAM FISHER BAM Rose Cinemas is wheelchair inquire at the coat check. accessible. Infra-red headsets for 321 Ashland Pl OTHER Fishman Space the hearing impaired are available; Hillman Studio inquire at the box offi ce. Administrative Offi ces Rooftop Terrace and Stutz Gardens 718.636.4111 Leavitt Workshop Student Rush Info www.BAM.org/student-rush Rental Information Brooklyn, NY 11217 718.636.4198 | [email protected] BAM.org/rentals [email protected] SERVICES BAM Visual Art TICKETS Membership 718.636.4194 718.636.4101 BAM Ticket Services [email protected] BAM.org/BAMVisualArt Performance tickets and info Level 5 special access to orchestra seats, [email protected] 718.636.4100 call Ticket Services at 718.636.4100 [email protected] Questions and Comments BAMcafé [email protected] Reservations/info: 718.623.7811 BAM.org/contactus

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Warning The photographing, the safety of others by lighting BAM theater managers and press videotaping, or sound recording of matches or smoking in prohibited agents are represented by the any performance without written areas during the performances and Association of Theatrical Press Agents permission of the management, is intermissions. This violates a New and Managers, prohibited by law. Violators may be York City ordinance and is punishable Local #18032, punished by ejection and may be by law. —Fire Commissioner IATSE, AFL-CIO. liable for money damages. BAM backstage employees BAM is a charter member of the Fire Notice The exit indicated by a are represented by the League of Historic American Theaters red light and sign nearest to the seat International Alliance of and an affi liate member of the League you occupy is the shortest route to Theatrical Stage Employees of American Theaters and Producers. the street. In the event of fi re or other (I.A.T.S.E.). Children under fi ve not admitted emergency, please WALK TO THAT unless explicitly noted. EXIT, FOLLOWING THE DIRECTIVES OF THE HOUSE STAFF. Thoughtless persons annoy patrons and endanger Thanks to our Winter/Spring Season supporters

Season Sponsor: Global Tour Premier Partner of King and Major support for BAM provided by: Country

Programming in the BAM Howard Leadership support for King and Country Gilman Opera House is supported and Major support for Les Fêtes Vénetiennes provided by: endowed by: provided by the Selz Foundation.

Additional support for Les Fêtes Major support for King and Country Programming in the BAM Harvey Theater Vénetiennes provided by Anne H. Bass; provided by Alan Jones & Ashley Garrett; is endowed by the Doris Duke Charitable Norman S. Benzaquen; Mary Sharp and Katheryn C. Patterson & Thomas Foundation. Cronson; Michael E. & Mary Gellert; The L. Kempner Jr.; and Jewish Communal Fan Fox & Leslie R. Samuels Foundation; fund. Additional support provided by Major Supporter of BAM Harvey Theater and Sam & Ellen Sporn. Mercedes T. Bass; and Robert & Teresa Programming: Lindsay. Leadership support for dance at BAM provided by: Major Sponsor of BAMcafe Live:

Major Sponsor of BAM’s Winter/Spring Programming in the BAM Lepercq Space Season: is supported by The Lepercq Charitable Leadership support for opera at BAM Foundation. provided by Aashish & Dinyar Devitre. Title Sponsor of BAM Rose Cinemas and Winter/Spring Season supporters: Ofﬁcial Airline of BAM: BAMcinématek: Booth Ferris Foundation brigitte nyc William I. Campbell & Support for Muslim Stories: Global to BAM Rose Cinemas are named in Local provided by the Building Bridges Christine Wächter-Campbell recognition of a major gift in honor of Charina Endowment Fund Program of the Doris Duke Foundation for Jonathan F.P. and Diana Calthorpe Rose, Islamic Art. The Gladys Krieble Delmas Foundation and have been generously supported by Epstein Teicher Philanthropies

The Peter Jay Sharp Foundation, and the Jeanne Donovan Fisher Estate of Richard B. Fisher. Judith R. & Alan H. Fishman The Francena T. Harrison Leadership support for Scandinavian The Steinberg Screen at the BAM Harvey Foundation Trust programming provided by The Barbro Theater is made possible by The Joseph Stephanie & Timothy Ingrassia Osher Pro Suecia Foundation. S. and Diane H. Steinberg Charitable David L. Klein, Jr. Foundation Trust. Diane & Adam E. Max Hellenic Humanities programs The Ambrose Monell Foundation supported by: Official Beverage of BAM: Henry and Lucy Moses Fund, Inc. Donald R. Mullen Jr. Samuel I. Newhouse Foundation, Inc. BAM Community Programs Sponsor: The Reed Foundation Major support for French programming The Jerome Robbins Foundation, Inc. at BAM provided by: The Fan Fox & Leslie R. Samuels Foundation, Inc. Endowment support for the Winter/ The Morris and Alma Schapiro Fund Spring Season: The Andrew W. Mellon The Scherman Foundation Foundation Fund for Opera and Music- The SHS Foundation Theater; The Peter Jay Sharp Fund The Shubert Foundation, Inc. Presenting Sponsor of the for Opera and Theater; Lila Wallace- The Harold and Mimi Steinberg Dr. Martin Luther King Jr. Tribute Reader’s Digest Endowment Fund for Charitable Trust Community, Educational, & Public Affairs The TinMan Fund The BAM facilities are owned by the Programming; The SHS Foundation; The Winston Foundation, Inc. City of New York and benefit from public Estate of Richard B. Fisher; The Starr Estate of Martha Zalles funds provided through the New York Foundation; Nora Ann Wallace and Jack City Department of Cultural Affairs Nusbaum; The Devitre Fund; and the Major supporter of BAM: with support from Mayor Bill de Blasio; BAM Fund to Support Emerging and Cultural Affairs Commissioner Tom Local Musicians. Finkelpearl; the New York City Council BAM would like to thank the Brooklyn including Council Speaker Melissa Mark- BAM Marquee Sponsor: Viverito, Finance Committee Chair Julissa Delegations of the New York State Ferreras, Cultural Affairs Committee Assembly, Joseph R. Lentol, Delegation Chair Jimmy Van Bramer, the Brooklyn Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Delegation of the Council, and Council BAM.org sponsor: Member Laurie Cumbo; and Brooklyn Leader. Borough President Eric L. Adams. Your tax dollars make BAM programs Official Piano for BAM: possible through funding from: @BAM_Brooklyn #DanceAfrica

DanceAfrica: by Susan Yung Opening Doors DanceAfrica master class. Photo: Whitney Browne Since its founding in 1977, DanceAfrica has Salaam refl ected on the nature of culture and continually been about the rich and variegated evolution. “The cultures of Africa and its diaspora tradition of African dance, and also the rites are dynamic, ever evolving, and ever searching. and heritage passed down through generations. A culture by its defi nition is an organic, living In that respect, this year’s festival will be a being that, if healthy, is forever reproducing new continuation, focusing on dance and culture from and vibrant offspring of itself.” the country of Senegal. It will, however, for the fi rst time be under the sole artistic direction of Referring to what might be expected from Abdel R. Salaam, who succeeds festival founder DanceAfrica going forward, he said: “Keeping Baba Chuck Davis (who will make a guest the foundation and histories of its origins appearance). that are its traditions, and yet, at the same, producing new variations on its ancient past and Salaam founded his New York-based company, the contemporary realities of its present in an Forces of Nature, in 1981. The company attempt to design and create a better tomorrow. has since been a vital presence on the dance DanceAfrica was, is, and will be a manifestation scene, sharing Salaam’s unique, impressively of this reality!” dramatic vision. The repertory often concerns our relationship with the planet, the environment, As in years past, DanceAfrica will feature or our fellow creatures. Salaam—whose troupe companies from Africa or the African diaspora— has been a frequent presence in DanceAfrica— this year, from Senegal. Specifi cs will be brings his years of creating narrative through- announced shortly. Of course, live drumming lines and thought-provoking allegory to and music—an integral, viscerally exciting DanceAfrica. This year’s thematic subtitle is element of African dance—will accompany the Senegal: Doors of Ancient Futures. proceedings.

cont. @BAM_Brooklyn #DanceAfrica

This year’s DanceAfrica festival kicks off with a huge bang: two concerts by Senegalese superstar Youssou NDOUR in the Howard Gilman Opera House on May 20 & 21.

On May 21, the Tribute to the Ancestors takes place at Weeksville Heritage Center, which is one of the country’s ﬁ rst free African-American settlements, as well as DanceAfrica Community Day at Restoration, where the young dancers of the BAM/Restoration DanceAfrica Ensemble celebrate the visiting artists.

An important component of DanceAfrica since its founding has been the participation and encouragement of youngsters and the Salaam. Photo: Jack Vartoogian Abdel R. development of potential talent. A prime example Emerging Choreographer Fellowship, which is the BAM/Restoration DanceAfrica Ensemble, provides designated up-and-coming dancemakers a program organized in partnership with the Bed- support for travel to Africa and research. Stuy Restoration Corporation, which performs each year, including with international guest The festival, to be held around Memorial Day companies. weekend, as is tradition, will also feature the out-of-doors DanceAfrica Bazaar, full of food There are now two award programs afﬁ liated and fun wares for the whole family; FilmAfrica, with DanceAfrica. The Samuel H. Scripps BAM wich screen as part of the proceedings at BAM Scholarship Fund provides assistance to select Rose Cinemas; a Late Night Dance Party in students to achieve the goal of a higher education the BAMcafé featuring DJ Tony Humphries; and in all artistic disciplines. The recipients have all workshops for both families and adults, held at participated in BAM’s arts education programs at the neighboring Mark Morris Dance Center. some point. New in 2015 was the Chuck Davis Susan Yung is Senior Editorial Manager at BAM.

DANCEAFRICA FESTIVAL 2016 FilmAfrica Senegal: Doors of Ancient Futures May 25—30 BAM Rose Cinemas* Artistic Director Abdel R. Salaam and Artistic Director Emeritus Chuck Davis Late Night Dance Party with Tony Humphries May 28 at 10pm, BAMcafé* Youssou NDOUR May 20 & 21, 8pm DanceAfrica Bazaar Howard Gilman Opera House* May 28, 12—10pm; May 29, 12—8pm; May 30, 12—8pm Tribute to the Ancestors Ashland Place (Hanson/Fulton) and Lafayette May 21 at 10am, Weeksville Heritage Center, 1698 Bergen St., Brooklyn Workshops Family workshop (all ages) DanceAfrica Community Day at Restoration May 30 from 10—11:15am May 21 at 1pm, Bedford Stuyvesant Resto- Adult workshop (intermediate to advanced) ration Plaza, 1368 Fulton St., Brooklyn May 30, 12—1:30pm Mark Morris Dance Center, 3 Lafayette Ave. DanceAfrica performances May 27 & 28 at 7:30pm; May 28 at 2pm; *Peter Jay Sharp Building, 30 Lafayette Ave. May 29 & 30 at 3pm Howard Gilman Opera House* Information at BAM.org Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the ﬁnancial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

$5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner $100,000 and above Edward Spilka William Boss Sandberg Michael Bailkin, Marvin Levine, Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera Jesse Masyr, David Stadtmauer Mr. & Mrs. Ame Vennema and Theater Robert & Joan Catell Fund for Verizon Communications The SHS Foundation Education Programs The Isak and Rose Weinman The Starr Foundation Charina Endowment Fund Foundation in honor of Madame $500,000 and above Neil D. & Kathleen M. Chrisman Lilliana Teruzzi The Devitre Fund Mr. & Mrs. Henry Christensen III The Winston Foundation Anonymous For more information on the BAM Endowment please contact Denis Azaro at 718.636.4193 or [email protected]. As of September 1, 2015

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneﬁciary in your retirement plan or insurance policy, among others. Unless otherwise speciﬁed by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn

For more information on Planned Giving opportunities please contact Stephanie Franco at 718.724.8137 or [email protected]. All inquiries will remain conﬁdential. BAM

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2016 WINTER/SPRING SEASON EAT, DRINK & BE LITERARY

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between Jan 12, 2015—Jan 12, 2016)

$500,000 and above Kate Spade $25,000 and above The Brooklyn Brewery Donald A. Pels Charitable brigitte nyc The Emily Davie & Joseph A24 Films Calvin Klein Inc. Trust Brooklyn Borough S. Kornfeld Foundation Roger Alcaly & Helen Bodian Donald A. Capoccia Pfizer Inc. President’s Office—Eric The Kovner Foundation Jody & John Arnhold Causemedia Group Plaza Construction Adams Robin & Edgar Lampert BNY Mellon Goldman Sachs Gives at Corporation William I. Campbell & Toby Devan Lewis Barclays Nets Community the direction of R. Martin Lyon & Hilary Polk Christine Wächter- James I. McLaren & Lawton Alliance Chavez Maya Polsky Campbell W. Fitt The Barker Welfare Credit Suisse Daniel Porter & Melanie JPMorgan Chase & Co. Nash Family Foundation Foundation Crown Acquisitions Judd The City of New York—Bill New York State Council on Mercedes T. 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Brooklyn Academy of Music Cheryl Della Rosa Alberto Sanchez Mary Kantor Dinyar S. Devitre Timothy Sebunya John Lipsky Chairman of the Board Mark Diker Bartholomew A. Sheehan III Laurie Mallet Alan H. Fishman Andre Dua Jessica Smith Cathy-Ann Martine-Dolecki Brendan J. Dugan Brian Stafford David L. Ramsay, M.D., M.Ed. Vice Chairmen of the Board Thérèse Esperdy Axel Stawski Elaine Weinstein William I. Campbell Teri Everett Joseph A. Stern Hon. Franklin R. Weissberg Adam E. Max Mallory Factor Pedro J. Torres Vaughn C. Williams, Esq. Richard E. Feldman, Esq. John L. Usdan President Steven G. Felsher Brigitte Vosse BAM Endowment Trust Chair Katy Clark Jeanne Donovan Fisher Nora Ann Wallace Timothy J. Ingrassia Barry M. Fox Veronica Westberg Secretary MaryAnne Gilmartin Adam Wolfensohn Vice Chair Joseph V. Melillo Robert M. Greenberg Claire Wood Gabriel Pizzi G. Penn Holsenbeck Andrew Zolli Treasurer Anne Hubbard Treasurer James I. McLaren Mark H. Jackson Ex Officio Keith Stubblefield Grant S. Johnson Gina Argento Presidents Emeriti Daniel A. Klores Lori Luis Members Karen Brooks Hopkins Philippe Krakowsky Laura Popa William A. Douglass III Harvey Lichtenstein Edgar A. Lampert Steven G. Felsher Gary Lynch Chairmen Emeriti Elizabeth Holtzman Members Patricia E. Michels Neil D. Chrisman James I. McLaren Tony Bechara Ahrin Mishan Seth S. Faison Norman L. Peck Fran Bermanzohn Donald R. Mullen Jr. Bruce C. Ratner Alberto Sanchez Gordon Bowen William A. Perlmuth Timothy Sebunya Linda Chinn David L. Picket Honorary Trustees R. Edward Spilka Henry Christensen III Frances A. Resheske Robert L. Forbes Nora Ann Wallace Pamela A. Codispoti Sarah C. Robertson Charles J. Hamm Henry Christensen III, Ex Officio Dr. Rudolph F. Crew Jonathan F.P. Rose Barbara B. Haws, C.A. Thérèse Esperdy, Ex Officio David E.R. Dangoor Anna Kuzmik Sampas William Josephson Alan H. Fishman, Ex Officio

BAM Staff

Katy Clark, President Jan Carr, Digital Content Writer Marc Putz, Sound Engineer, OH Kenneth Aguillera, Collie Dean, Joseph V. Melillo, Executive Anita Goss, Volunteer Librarian James Kehoe, Head Carpenter, HT Senior Attendant Guards Producer Connor Bowen, Regina Carra, Joseph Werner III, Asst. Carpenter, HT Marlon Desouza, Kevin Lemon, Alice Bernstein, Executive Vice Jennifer Dixon, Kristen Iemma, John Manderbach, Head Teonia Smith, Andel Thomas, President Coral Salomon, Kendra Williams, Electrician, HT Michael Whyte, Attendant Guards Stephanie S. Hughley, Vice Interns Edward Donohue, Master of President of Education, Properties, HT CUSTODIAL SERVICES Humanities, Cinema & Cinématek GENERAL MANAGEMENT Alison Dabdoub, Sound Engineer, HT Ramon Cabassa, Custodial Supervisor John Lanasa, Vice President of Patrick J. Scully, General Manager Tom Holler, Richard Wurzbach, Yossess Allen, Allan Boyce, Ludlow Marketing & Communications Sara Danielsen, Assoc. General Utility Men Chamberlain, Isaias Flores, Mayra Riccardo Salmona, Vice President Manager, Fisher Building Ginger Blake, Wardrobe Supervisor Guillen, Ron Rathan, Akeon Thomas, for Institutional Advancement Carrie W. Reynolds, Assoc. General Custodians Keith Stubblefield, Chief Financial Manager ARTIST SERVICES Officer and iceV President of Liz Zieminski, GM Budget Manager Mary Reilly, Director of Artist Services EDUCATION & HUMANITIES & Finance & Administration Jaclyn Bouton, Senior Project Stacey Dinner, Artist Services Manager BAMCINÉMATEK Manager Jeannine Baca, Britney Polites, Shana Parker, Director of PRESIDENT’S OFFICE Liana Agredo, Jessie Fairbanks, Artist Services Representatives Operations for E&H Michael Doyle, Administrative Project Managers Sarah Silverblatt-Buser, Fisher Artist Jennifer Leeson, Operations Coordinator Chris Mode, GM Coordinator, Services Representative Manager for E&H Budgets & Contracts Jackie Katz, Education Assoc. ARTISTIC PROGRAMMING Samuel Denitz, Admin. Asst. & THEATER MANAGEMENT Victoria Collado , Education Asst. Stonie Darling, Department Manager BAMshop Liaison Christine M. Gruder, Theater Manager Rebekah Gordon, Admin. Juan Pablo Siles, Coordinator of Cady Knoll, FOH Representative, John L. Jones, Assoc. Theater Coordinator Artistic Planning Fisher Manager Lucy Petropoulos, Intern Sonia Clayton, Jacqueline David, BAM ROSE CINEMAS PROGRAMS & CURATORIAL Leroy Houston, Theater Staff Efi Shahar, Cinema Executive Nick Schwartz-Hall, Line Producer PRODUCTION Supervisors Manager Amy Cassello, Assoc. Producer, Neil Kutner, Director of Production Michael Katz, Projectionist Next Wave Festival Collin Costa, Dylan Nachand, BUILDING OPERATIONS Adam Goldberg, Asst. Manager Darrell M. McNeill, Assoc. Producer, Assoc. Production Managers Cameron Christensen, Director of Andreea Drogeanu, Brente Kelly, Music Paul Bartlett, Ryan Gastelum, Building Operations Davina Roberts, Anthony Rachel Katwan, Asst. Line Producer Jennifer Grutza, Elizabeth Moreau, Roger Davis, Security Manager Shields Jr., Head Floor Staff R. Michael Blanco, DanceMotion Brian Sciarra, Production Wendy Berot, Project Manager USASM, Project Director Supervisors Summer Krounbi, Building BAMCINÉMATEK Sarah Horne, DanceMotion USASM Danielle Colburn, Laura Williams, Operations Coordinator Gabriele Caroti, Director Project Manager Palmer Johnston, Production Markee Glover, Mailroom Clerk Nellie Killian, David Reilly, Paige Haroldson, DanceMotion Coordinators Robyn Goldstein, Mailroom Asst. Programmers USASM, Project Asst. Heli Soell, Admin. Coordinator Kevin Cecil, Building Jesse Trussell, Programming Asst. Petra Laohakul, DanceMotion Frances Caperchi, Sally Withnell, Interns Operations Asst. Ryan Werner, Programmer at USASM Intern Elaine Colon, Jean Smith, Building Large Danny Kapilian, Producer, R&B STAGE CREW Services Assoc. Festival, MetroTech Thomas Paulucci, Crew Chief Steve McDowell, Auxiliary Technician EDUCATION Steven Serafin, Special Consultant Oscar Gruchalski, Head Carpenter, Steven McIntosh, Director of & Editor, BAM: The Complete OH BUILDING MAINTENANCE Education & Family Programs Works Paul McManus, Asst. Carpenter/ Anthony Shields, Maintenance John P. Tighe, Asst. Director of Flyman, OH Supervisor Education ARCHIVES James D’Adamo, Head Daniel Curato, Calvin Brackett, Eveline Chang, Mikal Lee, Verushka Sharon Lehner, Director of Archives Electrician,OH Ronald Hunter, Maintainers Wray, Program Managers Sarah Gentile, Digital Project Archivist Amy Domjan, Asst. Electrician, OH Carl Blango, Asst. Maintainer Cathleen Plazas, Program & Louie Fleck, Archives Manager Eric Saccoccio, Acting Asst. Evaluation Coordinator Electrician, OH SECURITY Malcolm Jackson, Education Carmel Curtis, Mary Rhymer, Evelyn Nicholas Varacalli, Master of Melvin Patterson, Manuel Taveras, Program Intern Shunaman, Processing Archivists Properties, OH Supervising Attendant Guards BAM Staff

Nora Tjossem, Humanities and DIGITAL MEDIA AND PROJECT Elizabeth Sarkady, Business Claudia Bailey, Budget Manager Education Events Intern MANAGEMENT Development Manager Brian Gee, Accounting Manager Aaron Weibel, Manager of Web Rebecca Carew, Corporate David McCullough, Budget HUMANITIES Production Sponsorship Manager Coordinator Violaine Huisman, Director of Nancy Chow, Digital Media Katerina Patouri, Sponsorship Asst. Seon Gomez, Staff Accountant Humanities Coordinator Iman Bance, Accounting Asst. Molly Silberberg, Humanities Josephine Llorente, Digital INDIVIDUAL GIVING Adam Sachs, Fiscal Manager Manager Production Asst. Barbara Cummings, Director of Douglas Fischer, Yusuf Siddiquee, Sarah Hayes, Digital Media Asst. Development Fiscal Coordinators LEAD INSTRUCTORS William Lynch, Director of Joshua Cabat, Young Film Critics MARKETING Leadership Gifts GOVERNMENT & COMMUNITY Samara Gaev, Nsangou Glenn Shannon Lacek, Director of Glenn Alan Stiskal, Director of AFFAIRS Gordon, Arts & Justice Marketing Major Gifts Tamara McCaw, Director of Jenny Rocha, Dancing into the Raphaele de Boisblanc, Senior Gwendolyn Dunaif, Assoc. Govt. & Community Affairs Future Marketing Manager Director, Major Gifts & Patron Dewonnie Frederick, Community Michael LoMonico, Shakespeare Andrew Chan, Melanie Cherry, Programs Affairs & Bazaar Manager Teaches Teachers Allison Kadin, Marketing Richard Serrano, Research Manager Ilex Bien-Aime, Govt. & Managers Maayan Dauber, Patron Program Community Affairs Coordinator TEACHING ARTISTS Rhea Daniels, Marketing Coordinator Jennifer Armas, Brigitte Barnett- Coordinator Travis Calvert, Project Coordinator, HUMAN RESOURCES Loftis, Rebecca Bliss, Melissa Laura Scholl, Marketing Operations Major Gifts Seth Azizollahoff, Director of Brown, Mahogany Browne, Manager Human Resources Chia-Ti Chui, Darian Dauchan, Britt Aronovich, Marketing INSTITUTIONAL GIVING Samara Alexander, HR Manager Harris Eisenstadt, Imani Faye, Revenue Manager Clemente Luna, Director of Cynthia Smith, Payroll Manager Kimani Fowlin, Ingrid Gordon, Pat Catherine Charnov, Marketing Asst. Institutional Giving Alexis Boehmler, Benefits Hall, Mel House, Albert Iturregui- Kailin Husayko, Semra Ercin, Manager Elias, Gwendolyn Kelso, Nicole AUDIENCE DEVELOPMENT & Institutional Giving Managers Bram McGinnis, HR Asst. Kempskie, Abigail Levine, Spencer STRATEGIC PLANNING Stephanie Caragliano, Institutional Lott, Farai Malianga, WT McRae, Molly Meloy, Director of Audience Giving Coordinator INFORMATION TECHNOLOGY Michael Mullen, Kwesi Nkroma, Development & Strategic Rebecca Russell, Intern William Allen Lee III, Director of Devin Norik, Pamela Patrick, Planning Information Technology Drew Petersen, Korey Phillips, Joaquin Esteva, Advertising MEMBERSHIP Thomas Brown, Business Mike Ramsey, Gwenyth Reitz, Manager Claire Charlesworth, Director of Analytics Manager Najee Ritter, Jen Shirley, Claire Frisbie, Content Marketing Membership Ira Sibulkin, Assoc. Director of IT Robby Stamper, Keomi Tarver, Manager Sarah Mischner, Membership Timothy Assam, Systems Karen Thornton Daniels, Adia Nathan Gould, Marketing Manager, Manager Administrator Whitaker, Todd Woodard Development Bruce Smolanoff, Telefund Svetlana Mikhalevskaya, Database Chris Tyler, Content Marketing Asst. Manager Developer BROOKLYN INTERNS FOR ARTS Sharlene Chiu, Customer Loyalty & Cheryl-Lyn Miller, Membership Jason Q. Minnis, IT Project & CULTURE Strategy Manager Coordinator Manager Patrice Edwards, Toni Greenidge- Kate Rakowski, Telefund Assistant Matthew Taylor, Andrei Iliescu, Aigle, Anabel Garcia, Patreece TICKET SERVICES Eva Marie Arena, Jessica Benton, Web Developers Jackman, Akiva Johnson, G. Scott Kubovsak, Director of Allison Bodwell, Lydia Cardenas, Jersy Rodriguez, Technical Kory Longsworth, Ashanto Lyking, Ticket Services Aaron Feinstein, Kenneth Fitts, Support Manager Faith Newman, Tyriese White Kevin McLoughlin, Head Treasurer Melissa Krzywicki, Thomas Lawler, Tamar Audate, Tim Chawaga, Russell Grier, First Asst. Treasurer Emilie McDonald, Samantha Technical Support Techs MARKETING & Victor Jouvert, Charlie Dolce, Asst. Osborne, Katherine Rehbeck, Susan Bishop, Admin. Coordinator COMMUNICATIONS Treasurers Adrienne Reynolds, Deema Salem, Lucas Austin, Junior Desktop COMMUNICATIONS Royda C. Venture, Ticket Services Dakota Scott, Amanda Wilder, Analyst Sandy Sawotka, Director of Manager Ramon Zubia, Membership Communications Georgina Richardson, Customer Representatives PROJECT MANAGEMENT Sarah Garvey, Assoc. Director Care Manager Jeremy Dewey, Director, Project of Publicity Latasha McNeil, Asst. Manager PATRON SERVICES Management & Strategic Susan Yung, Senior Editorial Ryan Mauldin, Ticket Services Ramzi Awn, Director of Patron Planning Manager Coordinator Services Ellen Leszynski, Project Adriana Leshko, Senior Publicity Edward Raube-Wilson Senior Michael Kendrick, Manager of Manager Manager Ticket Services Representative Patron Services & Donor David Hsieh, Maureen Masters, Saul Almiachev, Kiana Bilal Mack, Relations Publicity Managers Anaïs Blin, Lucca Damilano, Jessica Hindle, Patron Services Audience Research & Analysis Christian Barclay, Christina Justin Dash, Evan Dice, Robert Coordinator George A. Wachtel Norris, Publicists Ebanks, Miranda Gauvin, Greg Alexander Jofe, Annie Steingold, Hannah Thomas, Publicity & Garner, Sophie McNeill, Edgar Patron Services Assts. Bookseller Marketing Assoc. Mendoza, Warren Ng, Elsie Greenlight Bookstore James Sutton, Publications Asst. Pacella, Maura Roche, Angela PLANNED GIVING Sarah Sgro, Intern Romualdez, Allyson Steele, Stephanie Franco, Director of European Production Noel Vega, Jalise Wilson, Ticket Planned Giving Representative CREATIVE Services Representatives On Tour Ltd., Roger Chapman Andrew Sloat, Creative Director SPECIAL EVENTS Patrick Morin, Assoc. Director DEVELOPMENT Margaret Breed, Director of Film Buyer of Design Lucile Hecht, Administrative Asst. Special Events Adam Birnbaum Ryan Rowlett, Senior Interactive to Vice President for Institutional Grace Eubank, James Vause, Designer Advancement Special Events Managers Immigration Counsel Katie Positerry, Interactive Jonathan Ginsburg, Fettman, Designer BOARD RELATIONS & VISUAL ART Tolchin and Majors, PC Kyle Richardson, Alison ENDOWMENT Holly Shen, Curator of Visual Arts Whitworth, Designers Denis Azaro, Board Relations & Mary Gordanier, Visual Arts Insurance Broker Benjamin Cohen, Assoc. Director Endowment Director Coordinator Dewitt Stern of Video Alexandra Biss, Manager of Board Olivia Jacobs, Intern Ben Katz, Video Production Manager Relations Medical Consultants Kaitlyn Chandler, Alexander Guns, FINANCE & ADMINISTRATION Ahmar Butt, MD Video Editors CORPORATE RELATIONS & CAPITAL PROJECTS Anders Cohen, MD Jenny Choi, Publications Manager SPONSORSHIP Jonathan Jones, Director, Capital Robert Wood, Senior Copywriter Chantal Bernard, Director of Projects Restaurateur Seán McKeithan, Copywriter Corporate Relations Laura Grady, Capital Projects Great Performances Casey Cleverly, Creative Services Terrance Knox, Director of New Manager Project Manager Business Development Shu Chun Xie, Creative Services Ashley Jacobson, Senior Corporate FINANCE Mar 15, 2016 Assoc. Relations Manager Kozue Oshiro, Controller Tameka White, Asst. Controller