September October 2018 at Stanford Live Encore Arts San Francisco

PERFORMING ARTS MAGAZINE

INSIDE SEP / OCT 2018 Music and Movement across the Globe, Instruments from the Banned Countries, Ryan Haddad on Dating, and More.

M3_StanfordLive_Magazine_Sep_Oct_Cover_8.20.18.indd 1 8/23/18 8:37 AM Untitled-1 1 8/7/18 10:04 AM “First Republic shares our passion for innovation and world-class performance.” ANDREA MILLER Founder, Artistic Director and Choreographer, Gallim Dance 2017-2018 Artist in Residence, Th e Metropolitan Museum of Art

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

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CONTENTS

Stanford Live Staff P—9 & Sponsors

Welcome P—10

Upcoming Events P—12

Campus Partners P—18

Scene & Heard P—20

Movements Behind the Scenes P—40

Membership P—42 By Emily K. Holmes Stanford Live & P—44 This season invites us to consider music’s Bing Concert Hall relationship to the circulation of humans across Donors time periods and continents. Calendar P—46

Plan Your Visit P—47 PAGE — 30

Artist Voices Infographic

Ryan Haddad and Tim Miller Music and Musicians from the on Dating Banned Countries

p—22 p—28

Featurette Timeline

Janáček’s Intimate Letters Jordi Savall Traces the Routes of Slavery

p—26 p—38

5 Easy access to the care you need when you need it

For treatment of colds, flu, minor injuries, Stanford Express Care Stanford Express Care Stanford Walk-In Clinic and other common conditions, rely on Palo Alto San Jose No appointment needed Stanford Express Care and the Stanford Same-day appointments Same-day appointments 211 Quarry Road, Suite 402 Palo Alto, CA 94304 Walk-In Clinic. 211 Quarry Road, Suite 102 52 Skytop Street, Suite 10 Palo Alto, CA 94304 San Jose, CA 95134 call: 650.497.3940 With extended hours and multiple call: 650.736.5211 call: 669.294.8888 visit: Monday–Friday locations, they give you easy access visit: 7 days/week visit: 7 days/week 3:30pm–11:00pm 9:00am–9:00pm 9:00am–9:00pm to precisely the right care at the right time in the right place.

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Encore spread.indd 1 8/16/18 12:40 PM Easy access to the care you need when you need it

Pediatric patients 6 months and older welcome in all clinics

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Encore spread.indd 1 8/16/18 12:40 PM At HomeHome in thethe HillsHills Los Gatos Meadows is known for its hillside setting with stunning views Los GatosGatos MeadowsMeadows isis knownknown forfor itsits hillside hillside setting setting with with stunning stunning views views of the Santa Cruz Mountains, bustling downtown, and incredible natural of the SantaSanta CruzCruz Mountains,Mountains, bustlingbustling downtown, downtown, and and incredible incredible natural natural beauty. Find your new outlook on life at Los Gatos Meadows and stay beauty. FindFind youryour newnew outlookoutlook onon lifelife at at Los Los Gatos Gatos Meadows Meadows and and stay stay connected by living in the center of it all. connected byby livingliving inin thethe centercenter ofof it it all. all. Whether you prefer to keep your calendar full or see where the day takes Whether youyou preferprefer toto keepkeep youryour calendarcalendar full full or or see see where where the the day day takes takes you, there’s much to do at Los Gatos Meadows. Community living enhances you, there’sthere’s muchmuch toto dodo atat LosLos GatosGatos Meadows. Meadows. Community Community living living enhances enhances your every day, plus you enjoy convenient services, wonderful comforts, and your everyevery day,day, plusplus youyou enjoyenjoy convenientconvenient services, services, wonderful wonderful comforts, comforts, and and important health care when needed. important healthhealth carecare whenwhen needed.needed. Make a plan to learn more about moving to Los Gatos Meadows. For Make aa planplan toto learnlearn moremore aboutabout movingmoving to to Los Los Gatos Gatos Meadows. Meadows. For For information, or to schedule a visit, call 408-354-0211. information, oror toto scheduleschedule aa visit,visit, call call 408-354-0211. 408-354-0211.

A not-for-profitnot-for-profit communitycommunity ownedowned andand operatedoperated byby Covia.Covia. LicenseLicense No.No. 430700382430700382 COA#COA# 324 324 EPLG751-02CEPLG751-02C 8/16 8/16 A not-for-profit community owned and operated by Covia. License No. 430700382 COA# 324 EPLG751-02C 8/16

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STAFF FOUNDATION & GOVERNMENT PARTNERS

Paul Heppner Chris Lorway President Executive Director

Mike Hathaway Bryan Alderman Vice President Assistant Director of Development Kajsa Puckett Rory Brown Vice President, Operations Manager Marketing & Business Development Diana Burnell Assistant Ticket Office Manager Genay Genereux Accounting & Office Manager Robert Cable Communications Manager

Production Ryan Davis Susan Peterson Associate Director of Engagement and Public Programs Design & Production Director Robert DeArmond IN-KIND PARTNERS Web Developer Jennifer Sugden Assistant Production Manager Laura Evans Director of Music Programs, Education, and Engagement Ana Alvira, Stevie VanBronkhorst Drew Farley Production Artists and Graphic Designers Technical Manager Sales Ben Frandzel Amelia Heppner, Marilyn Kallins, Terri Reed Institutional Gifts and Community Engagement Officer San Francisco/Bay Area Account Executives Elisa Gomez-Hird HR and Administrative Associate Joey Chapman, Brieanna Hansen, Ann Manning, Wendy Pedersen Maurice Nounou Assistant Director of Ticketing and Sales Seattle Area Account Executives MEDIA PARTNERS Noreen Ong Carol Yip Executive and Contracts Administrator Sales Coordinator Egan O’Rourke Audio/Video Assistant Manager Marketing Shaun Swick Kimberly Pross Senior Designer & Digital Lead Director of Operations and Production Jeremy Ramsaur Ciara Caya Lighting Manager Marketing Coordinator Nicola Rees Stanford Live’s 2018–19 season is generously supported Director of Development by Helen and Peter Bing. Encore Media Group Toni Rivera Underwriting for student ticket discounts for the 2018–19 Corporate Office Operations Coordinator season is generously provided by the Bullard family. 425 North 85th Street Ivan Rodriguez Seattle, WA 98103 Artist Liaison/Cabaret Manager p 800.308.2898 | 206.443.0445 Mike Ryan Director of Operations, Frost Amphitheater f 206.443.1246 [email protected] Bill Starr House Manager www.encoremediagroup.com Krystina Tran Assistant Director of Marketing

Encore Arts Programs and Encore Stages are published monthly Max Williams by Encore Media Group to serve musical and theatrical events Development Associate in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. PHOTO CREDITS

On the cover: Jared Grimes performs in Spaces with the Jazz at Lincoln Center Orchestra, photo by Lawrence Sumulong. Page 10: Illustration by Hybrid Design. Page 18: Andy Warhol (U.S.A., 1928–1987), Detail from Contact Sheet [Photo shoot with Andy Warhol with shadow], 1986. Gelatin silver print. Gift of The Andy Warhol Foundation for the Visual Arts, Inc., 2014.43.2893. ©The Andy Warhol Foundation for the Visual Arts; El Anatsui (Ghana, b. 1944), Uwa, 2012. Aluminum and copper wire. C. Diane Christensen Fund for African Art and Phyllis Wattis Program Fund, 2017.7; Jess, The 5th Never of Old Lear, 1974, paper collage elements on 3-D support, 33 x 27 15/16 in. Collection of Harry W. and Mary Margaret Anderson. Pages 20 & 21: Photos 1 and 8 by Azar Kafaei; 2, 3, 5, 6, and 7 by Harrison Truong; 4 by Joel Simon. Page 22: Photos courtesy of Ryan Haddad. Page 30: Photo by Jake Blakesberg. Page⅛ 32: Photo by Oliver Holmes. Page 34: Photo courtesy of Alliance Artist Management. Page 35: Photo by Marc Brenner. Page 40: Malpaso Dance Company, photo by Alex Boerner. Page 42 & 43: Photos by Harrison Truong.

9 WELCOME

CHRIS LORWAY

EXECUTIVE DIRECTOR

“I received a letter just before I left office from a man. I don’t know why he chose to write it, but I’m glad he did. He wrote that you can go to live in France, but you can’t become a Frenchman. You can go to live in Germany or Italy, but you can’t become a German, an Italian. He went through Turkey, Greece, Japan, and other countries. But he said anyone, from any corner of the world, can come to live in the United States and become an American.”

—RONALD REAGAN

When I came to Stanford two years ago, of barber shops as centers of community Stanford Live presents it marked the second time I arrived in the in the African diaspora. And Catalan a wide range of the finest United States as an immigrant. The first composer Jordi Savall traces the music performances from around the was in the late 1990s to attend graduate traditions that moved along the routes of world, fostering a vibrant learning school at Columbia. During those 10 years the slave trade. community and providing dis- in New York, I experienced a society that tinctive experiences through the came together around the tragedy of This issue also provides a glimpse into two performing arts. With its home at 9/11 and then slowly began to split apart of our love-themed programs: Janáček’s Bing Concert Hall, Stanford Live is because of divisive rhetoric and a lack Intimate Letters with Rob Kapilow takes us simultaneously a public square, a of empathy. Thus, we chose to present a back to a time of poetry and penmanship sanctuary, and a lab, drawing on range of universal narratives this season while Ryan Haddad’s solo play about the breadth and depth of Stanford aimed to connect rather than divide. New York’s gay dating scene leaps ahead University to connect perfor- a century when relationships are often mance to the significant issues, Several programs explore the dynamics of mediated through technology. ideas, and discoveries of our time. human migration and the moral reckoning with universal human dignity that Another highlight is the return of Wang immigration compels societies to confront. Ramirez for the U.S. premiere of Nitin The Kronos Quartet—in partnership with Sawhney’s Dystopian Dream. Commissioned the Hamid and Christina Moghadam by Stanford Live, the piece is a core Program in Iranian Studies—will focus component of our residency with Nitin. His on music from Muslim-majority countries powerful music combined with Honji and subject to the recent travel ban. Poet Sébastien’s dynamic movement language and playwright Inua Ellams brings us an creates a multisensory work that is not to exciting new play that showcases the role be missed!

10 It’s unforgettable.

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INTERACTION AUDIENCE AMPLIFICATION Upcoming Events

SEP / OCT 2018 Koret Foundation Generously supported by the celebration to theBing. brings his80th-birthday saxophonist CharlesLloyd Endowment for theArts, Jazz Festival andtheNational awards from theMonterey to jazzworldwide, including Honored for hiscontributions 7:30 PM SEPTEMBER 21, FRIDAY, WHEN: J For thefull calendar, visit live.stanford.edu. AZZ PR and the Marvels With special guest guest special With Charles Lloyd Lucinda Williams Lucinda OJ EC T JAZZ STANFORD LIVE MAGAZINE HALL BING CONCERT VENUE:

12 adopted hometown. a beloved personality inhis England, Clearyhasbecome An outsiderfrom Kent, changing musicalheritage. heirs to New Orleans’ world- songwriter isoneof thegreat The pianoplayer and 7:00 & 9:00 PM 7:00 &9:00 SEPTEMBER 22, SATURDAY, WHEN:

SEP /OCT 2018 Jon Cleary POP STUDIO BING VENUE:

Koret Foundation Generously supported by the and soul of jazz. Project issteeped intheheart Grammy nominee astonishing debut. Two-time A husband.wife. An 7:00 PM SEPTEMBER 23, SUNDAY, WHEN: J AZZ PR OJ The Baylor EC T Project JAZZ STUDIO BING VENUE: the Baylor

STANFORD LIVE MAGAZINE SEP / OCT 2018

TALK JAZZ JAZZ COMEDY Wynton Marsalis Jazz at Lincoln Tord Gustavsen Nick Thune in Conversation Center Orchestra Trio

Spaces With Sigurd Hole and Jarle Vespestad

WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: TUESDAY, BING CONCERT WEDNESDAY, BING CONCERT FRIDAY, BING SATURDAY, BING STUDIO SEPTEMBER 25, HALL SEPTEMBER 26, HALL SEPTEMBER 28, STUDIO SEPTEMBER 29, 7:30 PM 7:30 PM 7:00 & 9:00 PM 7:00 & 9:00 PM

Wynton Marsalis joins Marsalis conceived Spaces Tord Gustavsen and his trio Nick Thune’s absurdist views Stanford Live for a as an “animal ballet,” perform new compositions and deadpan wit have conversation about jazz, performed by his own as well as unique distinguished his unique style the relationship between Jazz at Lincoln Center arrangements of J. S. Bach of storytelling mixed with the arts and community, Orchestra with dancers Lil chorales and traditional one-liners. The comedian and and the irrepressible spirit Buck and Jared Grimes. Scandinavian hymns. actor has appeared on The of New Orleans. Tonight Show, Conan, and Late Generously supported by Generously supported by the Night. Generously supported by the Stephanie and Fred Harman Koret Foundation Koret Foundation and the Koret Foundation, with

additional support from the J AZZ PROJECT

J AZZ PROJECT Western States Arts Federation

J AZZ PROJECT

STANFORD LIVE MAGAZINE SEP / OCT 2018

TALK/POP WORLD EARLY MUSIC DANCE Nitin Sawhney: Delgres Philharmonia Dystopian A Musical Life Baroque Orchestra Dream

Mozart Magnified Nitin Sawhney and Wang Ramirez

WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: SATURDAY, BING CONCERT SUNDAY, BING WEDNESDAY, BING CONCERT THURSDAY MEMORIAL SEPTEMBER 29, HALL SEPTEMBER 30, STUDIO OCTOBER 3, HALL & FRIDAY, AUDITORIUM 7:30 PM 7:00 PM 7:30 PM OCTOBER 4 & 5, 7:30 PM

Acclaimed artist Nitin Delgres, a 2018 Globalfest A Bay Area treasure, A theatrical realization of Sawhney presents an evening performer, makes music Philharmonia Baroque a concept originated by of music and memories rooted in a historical Orchestra plays classical Nitin Sawhney, Dystopian featuring tabla artist Aref moment: 1802, when slavery jewels on period instruments. Dream features animated Durvesh and vocalist Eva returned to Guadeloupe and Nicholas McGegan leads projections, flying by wire, Stone. some islanders escaped to works by Mozart with the and dazzling set design. New Orleans. Philharmonia Chorale. Generously supported by the Generously supported by the Koret Foundation Koret Foundation

15 POP POP Gavin Diana Turek Gameros

WHEN: VENUE: WHEN: VENUE: FRIDAY, BING SATURDAY, BING OCTOBER 12, STUDIO OCTOBER 13, STUDIO 9:30 PM 7:00 PM

TALK/CLASSICAL FOLK What Makes It I’m with Curated by Stanford Concert Deeply versatile in expression, Great? Her Network and MINT magazine, Berkeley-based Diana Turek serves up disco Gameros hypnotizes with solo shimmer, house music unz, guitar and a voice that is “at and electro-pop catchiness. once strong and breathy—in an instant, wounded and Generously supported by the boldly searching” (NPR). Drs. Ben and A. Jess Shenson WHEN: VENUE: WHEN: VENUE: Funds WEDNESDAY, BING STUDIO WEDNESDAY, BING CONCERT OCTOBER 10, (WED) OCTOBER 10, HALL 7:00 PM BING CONCERT 7:30 PM THURSDAY, HALL (THU) OCTOBER 11, 7:30 PM THEATER NEW MUSIC Hi, Are You Kronos Single? Quartet Master musician, explainer, This folk trio featuring Sara and audience fave Rob Watkins (violin), Sarah Jarosz Ryan Haddad Music for Change: Kapilow returns with (banjo, mandolin, and guitar), The Banned Countries Janáček’s Intimate Letters on and Aoife O’Donovan (guitar) Oct. 10, followed the next has garnered acclaim for night by a look at legendary WHEN: VENUE: WHEN: VENUE: its blend of instrumental THURSDAY BING SATURDAY, BING CONCERT Broadway composer and interplay combined with & FRIDAY, STUDIO OCTOBER 20, HALL OCTOBER 18 & 19, 7:30 PM lyricist Stephen Sondheim. melodies. 8:00 PM

Join writer/performer Ryan J. The Grammy Award-winning Haddad on a roller coaster Kronos Quartet premieres through New York’s gay dating a new program featuring scene, where the highs are music from the original seven high and the lows are lonely. “banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen—among others.

With support from Stanford’s Hamid and Christina Moghadam Program in Iranian Studies 16 CHAMBER Sundays with the St. Lawrence

With Anne-Marie McDermott, piano

WHEN: VENUE: SUNDAY, BING CONCERT OCTOBER 14, HALL 2:30 PM

Stanford’s own St. Lawrence String Quartet opens its Sunday series with pianist Anne-Marie McDermott featured in Mendelssohn’s Piano Sextet. Palo Alto’s best address.

Located just blocks from downtown Palo Alto, POP/CABARET University Avenue, and Stanford, Webster House John Lloyd Young oers you world-class community living. The area is perfect for exploring by foot with museums, performances, dining, shopping, and galleries all Broadway’s Original close at hand. “Jersey Boy” An intimate Life Plan Community, Webster House WHEN: VENUE: makes it easy for you to stay connected to the culture, SATURDAY, BING OCTOBER 27, STUDIO academia, and vibrancy of Palo Alto while enjoying 7:00 & 9:00 PM convenient services and security for the future.

Explore your options and get to know us to learn The multiple-award winner more about moving to Webster House. For from Broadway’s Jersey Boys information, or to schedule a visit, call 650.838.4004. comes to the Bing Studio with music from the 1950s and 1960s all in the authentic style of rock and roll, doo- wop, and R & B.

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SEP / OCT 2018 young viewers maynot beappropriatethat for Exhibition includessome images Cantor ArtsCenter Opens Sat,Sep29, 11:00AM Photography End without Contact Warhol: 1 visit arts.stanford.edu. For more information, please shaped canvases. examples of Murray’s colorful on Elizabeth Murray openswith collection. OnSept. 27, Spotlight from theAnderson family’s and paintings onpaper collages, watercolors, drawings, II, openingSept. 20, features At theAnderson: environment. consumption andthe connections between sculptures thatdraw at theCantor, isknown for whose work Uwaisondisplay and theAmericas. ElAnatsui, on theArtsof Africa, Oceania, 2018 Ruth K. Franklin Lecture in conversation aspartof the Oct. 17, artist ElAnatsuiwillbe of iconicwork. theartist’s On exhibited—and other examples including imagesnever before Warhol’s photography— unparalleled collection of Andy opening Sept. 29, features an Photography End, without At theCantor: Contact Warhol: the Anderson Collection. at theCantor ArtsCenter and New fall exhibitions are opening Salon Style Salon Style

18 and the Americas and the of Arts Africa, Oceania, the K.Ruth Franklin Lecture on Presented 2018 aspartof the Bing Concert Hall Wed, Oct17, 6:00PM in Conversation Artist ElAnatsui 2 2 1 3 family’s collection on paperfrom Anderson the A second group of works Stanford University Anderson Collection at Opens Thu,Sep20, 11:00AM Salon Style II 3 EAPfull-page template.indd1 CNB MEMBERFDIC. ©2018City National Bank. All Rights Reserved. City National Bank is a subsidiary of Royal Bank of Canada. friend orcolleague? sales of $10-500million. CNBresults are compared to leading competitors onthe following question: How likely are you to recommend (bank) to a *Based oninterviews conducted by Greenwich Associates in2016with more than 15,000executives at mid-size businesses across the country with Call built onclientreferrals. City National isthebank Top Ranked inClient Referrals.* (866) 618-5242to learn more or visit cnb.com. Referred Eddie toCityNational Owner, Western CostumeCompany Bill Haber

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1 LUCIA MICARELLI 2 MUSICA EN EL JARDIN

On July 8, Stanford Live Grammy Award-winning welcomed violinist and rapper Mala Rodríguez vocalist Lucia Micarelli, best and Mexican electronica known for her collaborations band Sotomayor took the with Chris Botti and her role stage for an evening of Latin in the HBO series Treme. hip-hop and dance on July 14.

3 MILES TO HIP-HOP 4 OPERA’S FUTURE STARS

5 This summer’s outdoor San Francisco’s acclaimed concert series kicked off Merola Opera Program, one July 13 with Jazz on the Green of the country’s foremost featuring three artists: Miles training centers, brought this Electric Band; Kev Choice, a summer’s crop of rising young musician, emcee, and hip-hop singers back to the Bing for artist; and Sidewalk Chalk. an evening of staged opera scenes on July 7.

5 CLASSIC ALBUMS 6 COMPUTER OR LIVE COMPOSER?

After the success of last That was the question put year’s Woodstock concert forth during KQED’s Silicon with Classic Albums Live, Valley Conversation on July the group returned to the 19 about the future of music. Bing lawn with two more Host Tonya Mosley poses re-creations of rock favorites: with panelist Ge Wang, Fleetwood Mac’s Rumours director of the Stanford and Creedence Clearwater Laptop Orchestra. 8 Revival’s Chronicle, Volume 1.

7 NOT READY FOR 8 STANFORD JAZZ NAPTIME FESTIVAL

On July 15, indie family music Stanford Live and the all-star Justin Roberts and Stanford Jazz Festival his Not Ready for Naptime teamed up again this Players dished out an summer. In this intimate Bing afternoon of whimsically Studio show on July 1, bassist rocking music for kids and Or Bareket performed with their parents. pianist Nitai Hershkovits and guest guitarist Camila Meza. FEATURETTE

Are You Single?

Ryan Haddad and Tim Miller Discuss Dating and Relationships

Drawing on his life experiences as a gay or unspoken, about the possibility man with cerebral palsy, Ryan Haddad they may end up in a performance? strives to bring authentic depictions of disability and intersectionality to TM: Yeah, that happens. My personal the stage. He and his mentor, the life has been quite settled for a long performance artist Tim Miller, with time in terms of relationships. But there whom Haddad studied autobiographical was a period with my husband, Alistair, storytelling, share highlights of their when I knew I wanted to begin making conversation with Stanford Live. work about our political situation as a couple with him being an immigrant RH: Your work draws on your personal from Australia and unable to remain in life—that’s what drew me to you and the United States. I asked him to give me continues to inspire me to do what I do. the go-ahead, but I wouldn’t have done When you enter relationships with people, that even a year earlier because it would particularly romantic relationships, is have made our lives more complicated there ever an understanding, spoken to be talking about it so soon. 2 22 STANFORD LIVE MAGAZINE SEP / OCT 2018

3 1. Ryan Haddad in his solo show Hi, Are You Single?

2. Performance artist Tim Miller

3. Tim Miller with Ryan Haddad

Right before I met Alistair, I did a piece called Naked Breath about what happens when a gay man who is HIV-negative, as I am, starts a relationship with a man who is positive. In 1993 or 1994, we were talking about it all the time. I mean, it’s still complicated. I asked my friend Andrew if I could. (We had an ongoing romance.) If he had said, “I really don’t feel comfortable,” I would have changed his name, but I still would have made the happy and content in your marriage be my uncle saying to me, “Could you be piece because it was something important with Alistair. As you look back on the any more subtle?” Then, about two years that had happened to me. And I felt it was journey, on the road to finding him, what ago, my director asked, “Could we just important to create a piece that positively does that reflection bring you today? change it to what he is actually saying: shows that men who are positive and ‘Could you be any more desperate?’” negative can be in relationships, which TM: I think that for me, I was such a I thought I had graduated from that is something we take for granted now clumsy, ambitious young gay man. But feeling. I experience encounters with but is still by no means simple. I don’t think in the scheme of things men, and many times they’re fine. I that I was being too much of an Attila recently had an experience with a boy RH: When you are living life, are you the Hun with other people’s hearts. who I really like—and I often like boys constantly aware, “Oh, this could be My own heart was broken a number who don’t like me back. It’s something something. This could be a scene or a of times, as well. In retrospect, I wish that I’m used to, but this particular story or a whole piece”? Or do you let I could have been a little less hyper- one just hit me in a certain way that life happen and then reflect on it later? ambitious, but Manhattan invites the was so lovely and intense. And I’m ambitious. That’s why people go there. realizing, “Oh I’m not really that far TM: There are certain things you can’t off from the boy who was 22 or 23 in imagine not performing about. With I wish in some ways I had been less Delaware, Ohio.” It doesn’t go away. all the work I’ve done on immigration nervous, less desperate, less anxious. and marriage equality, how could I But you know, you perform that in Hi, I want to ask you to go back 25 years not perform about Alistair’s green Are You Single?—that very natural, urgent to your courtship with Alistair—or card interview and us getting married? hunger and nervous desire to find love. anyone really—and share what It was something I used to worry I mean, it never goes away in our lives. is one of your fondest memories about more. Life is so much more of a lovely date with a lover. complicated than our little creative RH: No, and there have been pockets ventures could ever get at. of time over the past three years since TM: The thing that I really think of is the I began performing it where I felt like beach. I think of those graceful days, RH: Your personal life has been settled I have moved on from this character. which feel abundant in their hours—in a for many years now, and you’re very There was a line in the show that used to good way, not like on a horrible day at

23 STANFORD LIVE MAGAZINE SEP / OCT 2018

work or school when the clock doesn’t RH: I’ve gone on many dates, or what TM: I was thinking that as I talked move—those days where it feels like I thought were dates. But the best about it. there’s plenty of time to spend with intimate moments for me have been Alistair and our 16-year-old dog, Frida… just a couple of sexual encounters RH: But I will say that, recently, I was to spend time together and talk and that were very lovely and passionate. with a guy who—for the first time in my eat and walk the dog and have sex or My mom would be like, “Oh my God! adult life—made the beach accessible not have sex, to go to the beach if it’s That’s not a date,” and of course it’s for me. summer. We are always going to the not. Sometimes, though, a guy will beach. There, it’s a mixture of romantic understand me and my body in a TM: How did he do that? Where were but also timeless and heavenly in way that is intuitive and he will make you? a strange way. A bit like the image me feel a kind of sexiness, that I AM at the end of Longtime Companion. SEXY. For as much as I get on that RH: We were by a lake, with some You’ve seen that movie, haven’t you? stage and say, “I am beautiful, I am other people too—but I was fixated on sexy, I am...I am…I am…” and sort of this person that I found to be Prince RH: No, but now I’m going to watch it. perform the act of empowerment, the Charming. He held both of my hands truth is that when you are a disabled and held me in the water the whole time, Encore_Warhol_final_ad1.pdf 1 7/24/18 10:55 AM TM: That final image—much criticized body and naked with another human totally supporting me physically and at the time—was amazingly beautiful, being, it’s incredibly vulnerable. never letting me go for the entire hour a brave conquering of the afterlife. that we were in the water together. Just You know, if we’re not going to do that The beach is not an accessible place like, “I’m going to do this for you: I’m in the theater, what are we doing? for me. going to make this experience possible and accessible.” It’s impossible not to fall for the man who does that. For me, it was like, this is the most intimate thing I’ve ever experienced. But I don’t want to say more than that right now. It’s still relatively close to me, that story, the emotion of that beautiful moment in the water. And I want to save it for a play or performance piece of some kind.

TM: What if you imagine, each time you C perform the piece, that maybe someone M falls in love that night. Maybe it’s you. Y Maybe it’s the person in the fourth row. CM I think your work creates the conditions MY for people to see each other, appreciate

CY each other. And that includes you. Of

CMY course, you’re so lovable in your work, as well as cranky and funny. I think the K work you make helps make that happen.

Hi, Are You Single? Ryan Haddad Thu & Fri, Oct 18 & 19 8:00 PM Bing Studio Since Harker’s founding in 1893 we have An Unwavering offered unrivaled academic programs and extracurricular offerings for students to explore their interests, discover their Commitment to passions, and develop the skills to succeed in an ever-changing world. We are honored to have educated the students of the Valley Excellence. for 125 years and will proudly continue our unwavering commitment to excellence for generations to come.

The Harker School is celebrating its 125th anniversary. To learn more about our history, or to attend one of the special anniversary events.

then&now

The Harker School | San Jose, CA | K-12 College Prep | www.harker.org

EAP full-page template.indd 1 8/3/18 11:00 AM Left Page 1. Leoš Janáček and Kamila Stösslová

2. The composer with his muse

1 Intimate Letters, with Strings Attached

Excerpted from Intimate Letters: Leoš Janáček to Kamila Stösslová (John Tyrrell, translator), with permission from Princeton University Press

In 1917, the Czech composer Leoš Janáček met Kamila Stösslová while on holiday at a spa resort in Moravia. He was 63, and she was 26. Undeterred by her lack of feeling and her spasmodic replies, he sent her more than 700 love letters. And perhaps fueled by his own unrequited love, he went into high gear, composing some of his greatest music, including the String Quartet No. 2—called, fittingly, Intimate Letters, which is the focus of Rob Kapilow’s first program this season. What follows are snippets of their correspondence from 1917 to 1924.

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July 16, 1917 Accept these few roses as a token of my unbounded esteem for you. You are so lovely in character and appearance that in your company one's spirits are lifted; you breathe August 20, 1919 warmheartedness, you look on the world with I'm sending you here a Uttle ring with my such kindness that one wants to do only good name you'll like it and the main thing is that and pleasant things for you in return. You will Left Page [the man] from whom this ring [comes] had not believe how glad I am that I have met you… 1. great luck I've had it now for ten years and Leoš Janáček and I've had luck too except that it got caught in August 20, 1919 Kamila Stösslová my hair a lot. You can't imagine what joy you've given me with that ring for luck. I'll certainly not lose it or break 2. So I wish that for the next it. So you'll have an inheritance with me... The composer with LJ ten-twenty-thirty years that you wish the his muse ring will bring you the same luck for yourself that I've had so far myself… January 9, 1920 Your present, decorated with ribbons, is on my writing desk. I, who work by the pen, take great pleasure in it. I drag everyone to have a look at August 25, 1922 it. But with this silver pen I won’t write anything You know very well why I don’t want to stay ordinary; when I take it in my hand, it will be at your place. For I still haven’t forgotten something special that I write… about the last time. Why cause pain to another person unnecessarily. I had thought August 27, 1922 I wouldn’t write to you again. So you can be angry such a long time? Believe me, you’ve made my holidays sad by it. It doesn’t matter about the holidays! But believe me that I need your twittering and your scrawling as the dry weather needs the rain, the dawn needs the July 9, 1924 sun, the sky needs the stars. Yes, that last com- I hope you’ve got my letter already. I’m by parison is the best. “What’s the sky without that the water the whole time, I’m already so little star?!...So, dear Mrs. Kamila, make up now black that I can’t even tell you… for what you’ve not done! I write a bit sadly but I’ve read your letters July 8, 1924 and so I sense that love of yours for me. …Oh you know, Kamila, I’m so unutterably Where I’m sorry is if someone is suffering. It fond of you. I’d call out “Kamila” all the time! would have cost me my life. So be terribly And sometimes, ah, I fear to say it...because cheerful because that’s what I wish… it’s something not to be uttered. Not for this passion, for something higher...They say of me I never thought I’d correspond with some that I’ll live forever; that’s metaphorical. But it’s man and I resisted even you I didn’t want possible to live forever in other ways. Eternal life to talk to you. But fate wanted otherwise so springs from you, from that dear Kamila. Oh, I’d we’ll now leave everything to fate. It’s better write things like that without stopping! […] that you’re so old now if you were young my husband would never permit this…

July 15, 1924 You know that I opened your last letter with mis- givings? And I had reason to. How can one not want you, when one loves you?...

…But not to want you, though that’s an impossibility—I can’t do that. You are entire in my soul; What Makes It Great? so it’s enough for me to want you always. And Janáček’s Intimate Letters to forget you, that would be sad for me and it’s With Rob Kapilow impossible. So I’ll be merry according to your Wed, Oct 10, 7:30 PM order… Bing Studio I walk here isolated; the weather’s chilly. Luckily I brought work with me. 27

Janacek.indd 2 8/29/18 10:40 AM Music and Musicians from the Banned Countries

For more than 40 years, San Francisco’s Kronos Quartet has embodied a spirit of fearless exploration. Its newest program, Music for Change , is a direct response to the 2017 executive orders limiting travel to the United States and highlights the rich diversity of artistic voices from the original seven “banned countries.” Here’s a snapshot of some of the notable musicians and music from the region.

2 4

LIBYA IRAQ Along with Morocco, Iraq has developed a music Algeria, and Tunisia, Libya culture incorporating unique inherited the musical instruments such as the traditions of Andalusian coconut fiddle called the joza Spain, developing its own and the hammered dulcimer unique manifestation of as well as unique rhythms this heritage in recent including the 10-beat jurjuna centuries, known locally SYRIA rhythm and the rousing chobi IRAN as ma’luf. Following The center of the music world rhythm, which accompanies Persian music has a deep independence, the new in Syria is the city of Aleppo. line dances. history dating from well before nation-state created large In addition to being famous the birth of Islam. In recent state ensembles in the for classical art music, Aleppo centuries, Iran has developed middle of the 20th century is also known for a genre of creative new manifestations in an effort to promote beloved sing-along songs called of Persian music culture and traditional Libyan music, qudud halabiya. The dabkeh is refined elegant instruments led by prominent figures a folk dance popular throughout like the kamancheh, setar, and like singer and composer Greater Syria, an obligatory tar, creating a high classical Mohamed Hassan. component of weddings and art form that is the pride of other celebratory events. the present-day nation-state of Iran.

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2 3 4 YEMEN Yemen was home to a 1 dynamic Jewish population that was geographically isolated from other Jewish peoples and developed its own unique music and dance 5 6 traditions. Starting in 1949, the majority of the Yemenite Jewish population migrated 7 to Israel. They brought with them devotional songs 7 (diwans) with rich poetry and rhythmic dances propelled by instruments called sahn nuhasī, which are large copper plates also used as regular kitchenware. 5 SOMALIA Somalia shares musical attributes with other countries of the Horn of Africa. One of the common instruments in the region is the shareero, a type of lyre. Similar to Sudanese music, the music of SUDAN Somalia is also pentatonic. Sudan’s music is different from the music of the rest of the Arab world in that the musical scales are composed of only —Compiled by Ari Marcus, ‘18 five rather than seven notes per octave. In other words, Sudanese music is pentatonic Music for Change: The rather than heptatonic. This Banned Countries difference gives Sudanese Kronos Quartet music a unique character and Sat, Oct 20 was central to the style of 7:30 PM musicians like Abdel Karim Bing Concert Hall el Kabli.

M1_StanfordLive_Magazine_September/October_Spreads_082018.indd 2 8/29/18 10:52 AM MAIN FEATURE

1 Movements

By Emily K. Holmes

Whether we move across the globe when in peril. When considering why As daunting a task as this imperative for an indefinite stay or just cross and how people move and migrate, it is might seem, the stakes of minimizing the street for the afternoon, we are essential to avoid what contemporary the diversity of our collective individual creatures who live in states of near Nigerian novelist Chimamanda Ngozi experiences into one dominant constant transit. Our experiences of, Adichie calls “the danger of the single narrative are high: “The consequence and reasons for, travel from one place story” in her eponymous 2009 TED talk of the single story is this: it robs people to another are as innumerable and (viewed over 15 million times online). of dignity. It makes our recognition varied as we are ourselves: we might Adichie reflects on the impossibility of our equal humanity difficult.” change locations briefly to travel, when of “engaging properly” with a subject afforded a chance at leisure—or to without taking into account “all of the For, as Adichie astutely notes, dominant evacuate in urgent search of safety, stories of that place and that person.” narratives are related to power and

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EAP full-page template.indd 1 7/25/18 1:19 PM MAIN FEATURE STANFORD LIVE MAGAZINE SEP / OCT 2018

2 1. The Kronos Quartet performs its new program, Music for Change: The Banned Countries

2. Inua Ellams, the Nigerian-born author of Barber Shop Chronicles

privilege. “Power is the ability to not stories that comprise any issue, group, profound loss. These are no small topics, just tell the story of another person but or location. Making room for multiplicity and these performances together to make it the definitive story of that creates a verdant new potential for attend to the relevant social, political, person,” she observes. Such defining rebalancing justice, equality, and human and historical contexts surrounding the statements—dependent on intentionally dignity—and this upcoming season at creation of music and our varied life selective information that denies nuance Stanford Live features a much-needed journeys. and omits room for difference—can and nuanced counterbalance to the be more easily weaponized against shortsighted view towards topics of These sonic stories use innovative vulnerable targets. One might consider migration, movement, and immigration approaches to explore the ideas of the current American administration’s in the public realm, using music as a circulation with all complexities intact— aggressive anti-immigration rhetoric, catalyst for empathetic connection. even the most painful sides of human which has slung denigrating language history. Catalan composer Jordi Savall, as verbal assault against migrants Offering a thoughtful complement to who has long been known in his prolific and carried out policies that enforce last season’s theme of contemplating career for his attention to the cross- traumatizing treatment of asylum- what makes us different and how we pollination of music between cultures seekers, including young children, shape our unique identities, this season and time periods, remains committed among other harmful practices. The invites us to consider music’s relationship to telling multilayered musical histories antidote against such attempts at to the circulation of humans across time with poignant awareness of cultural and myopic representation, to work towards periods and continents. This topic opens social roots. His latest composition, The restoring dignity, Adichie concludes, is discussions of the universal qualities of Routes of Slavery, showcases the varied to make room for multiple stories, to be navigating a course through life, finding musical traditions impacted by—and keenly hungry to engage with the many connections, and enduring through created in resilient response to—the

32 Allied Arts Guild trauma of enslavement. Beginning Discover this hidden gem with a reading of a text by Aristotle right in Menlo Park! and continuing with written narrative interludes across many eras, the Historic Spanish Colonial Architecture composition centers on music created Beautiful Seasonal Gardens during the transatlantic slave trade Unique Shops & Artists’ Studios Cafe Wisteria & Private Events between 1444 and 1888. The performance additionally highlights musical evolutions from the intercultural exchanges with music in the Caribbean and Central Autumn Open House and South America, acknowledging the Saturday, October 27, 2018 many locations impacted by slavery. 11 am to 3 pm Though the performance is deeply • Children’s activities include historical, it additionally highlights the face painting, jugglers, ongoing consequences of slavery, such cookie and pumpkin as present-day racism, the refugee crises decorating, plus story time in relation to the Mediterranean Sea, • Costumes encouraged and the continued existence of human trafficking. With a cast of 32 musicians 75 Arbor Road, Menlo Park, CA www.AlliedArtsGuild.org from 15 countries and three continents, The Routes of Slavery exemplifies a Benefits Lucile Packard Children’s Hospital Stanford remarkable creative approach that doesn’t shy away from the full complexity of human history and evidences music’s role as healer, community builder, and a tool for change.

Presented in close partnership with the Hamid and Christina Moghadam Program in Iranian Studies and Stanford Live, Music for Change: The Banned Countries, from the Kronos Quartet, includes a selection of pieces by composers from countries originally included in the 2017 Executive Order, or travel ban: Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen. The program features works composed specifically for the performance, new collaborations with musicians from several of these countries (a frequent practice and core value for the group), and signature works from the quartet’s extensive repertoire. The director of the Hamid and Christina Moghadam Program, Professor Abbas Milani, comments: “For more than four decades the Kronos Quartet has been a source of sublime music, an indispensable beacon of exhilaration MAIN FEATURE STANFORD LIVE MAGAZINE SEP / OCT 2018

and healing, a shining example of on interviews with undocumented community. Through song and speech, art as the embodiment of the better young people living, working, and the Barber Shop Chronicles portrays angels of our souls. In these troubled studying in the United States. López witty, raw, and heartwarming stories of times, no one other than the inimitable recently told the New York Times that friendship, family relations, identity, and Kronos could help us recognize and the play’s mission evolved and adapted intercultural exchanges, with region- celebrate the dignity, humanity, over the last year in response to the specific musical interludes to transition and joy in the now sadly ‘banned’ unpredictable changes in immigration between locales. The importance of cultures and people.” In addition to policies, which further sparked a the barber shop as a core space for the performance, the musicians are sense of urgency; he became further community for African-American men developing resources to further share committed to portraying the stories (as well as for folks of other genders) the work with the campus community shared with him as a grounding and may be better established stateside, and have been integral partners in humanizing response to representations and Ellams’ global narratives add fostering conversation about the travel in the mass media and politics. to the richness of multiple stories ban’s impact on cultural exchange. centered on key gathering spaces In Inua Ellams’ Barber Shop Chronicles, for connection like this one. The new oratorio Dreamers, by Cuban- the Nigerian-born and London-based American playwright Nilo Cruz and playwright cleverly anchors the stories For so many of the pieces described Peruvian composer Jimmy López, of his characters—African men and above, another thread beyond the likewise uses its stage as a platform to men from the African diaspora—in varied experiences of global movement shine light upon overshadowed voices. barber shop scenes set in six cities. and migration is memory. Music—a Performed by soprano Ana María Each rotating vignette is played by form of communication not tethered to Martínez, a chorus, and Esa-Pekka the same actors and singers and language—is heard, felt, and embodied Salonen conducting the Philharmonia poignantly showcases the barber by both performers and listeners. Orchestra of London, the piece is based shop as a space for gathering in

3 3. Catalan composer and music historian Jordi Savall

4. The original company of Barber Shop Chronicles at the National Theatre, London

STANFORD LIVE MAGAZINE SEP / OCT 2018

The multifaceted musician, producer, personal relationships to immigration. puts his own life on center stage in a and composer Nitin Sawhney is keenly Influenced by his Indian heritage, the new orchestration reflecting upon his aware of this relationship. His persistent British-born musician has explored past, developed during his residency passion for intercultural musical Indian independence, drawing from at Stanford; the composition, which exchanges was once the subject of a his parents’ and his own experiences, features tabla artist Aref Durvesh miniseries of his own design for BBC in his previous compositions. After and vocalist Eva Stone, showcases a Radio 2’s Spin the Globe program, and his more than two decades of composing, blend of music, memories, and the own practice prominently addresses his producing, and performing, Sawhney inseparable points of intersection.

Music is a creative medium particularly well-suited to multiplicity. Whether started by a singular author or not, performances are most often made manifest through collaboration. To truly work together—to make something, one might say, great—requires self- awareness, acknowledgement of and respect for individuality, and an openness to constant learning. But it is not every collaboration that results in a performance that moves us, shakes us to our core, and stirs up our own memories of making our way through life, loving in all its forms, and coping with loss as we grow. Embracing the strength found in rejecting the single story doubtlessly requires repeated attempts and flexibility and no small amount of patience; the stories of migration, movement, and displacement deserve INSPIRING THE BEST IN OUR K-12 STUDENTS this, and more. And it’s worth the effort—for, as Adichie tells us, “when we Lower Campus Middle Campus Upper Campus reject the single story, when we realize 477 Fremont Avenue 327 Fremont Avenue 26800 Fremont Road that there is never a single story about Los Altos, CA 94024 Los Altos, CA 94024 Los Altos Hills, CA 94022 any place, we regain a kind of paradise.”

—Emily K. Holmes is a freelance writer For more information, please visit our website at: and editor based in Oakland. WWW.PINEWOOD.EDU Bing Concert Hall Studio Cabaret

Experience a New Side of Bing Concert Hall In Our Underground Studio Cabaret

Stanford Live’s new, intimate cabaret space in the Bing Concert Hall Studio is the perfect venue to experience a wide variety of performers up close and personal. Relax and enjoy an evening of live entertainment in this unique setting. Coming up this fall: jazzy nights with pianist Jon Cleary, Tord Gustavsen Trio, and The Baylor Project; Creole blues with Delgres; comedy night with Nick Thune; Latin roots with Diana Gameros; and more being added throughout the year.

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SL19_CabaretAd_Sep/Oct.indd 2 8/29/18 12:37 PM Despite the fact that for hundreds of years European nations deported more than 25 million Africans into slavery, the public at large is still insufficiently aware of this period in history—one of the most ignoble and painful. A new multicultural project from Jordi Savall and his musicians on The Routes of Slavery marks a world first in the history of music, and of the three continents involved in the trade in African slaves and their exploitation in the New World. Tracing the Routes of Slavery of Routes the Tracing

PORTUGAL HISPANIOLA JAMESTOWN, VIRGINIA BARBADOS 1444 1505 1619 1657

The voyage of Captain On September 15, King The first African slaves arrive Richard Ligon publishes A Lançarote de Freitas, for Ferdinand writes a letter in British North America. True and Exact History of the the service of God and to Nicolás de Ovando, the Island of Barbados, in which the Infant Prince Henry, is governor of the West Indies, he describes the music of the first major commercial making several requests, the slaves. venture of the Portuguese including for the dispatch in West Africa. of 100 slaves for the mines in Hispaniola (present-day Dominican Republic and Haiti).

M1_StanfordLive_Magazine_September/October_Spreads_082018.indd 3 8/29/18 10:52 AM The Routes of Slavery Jordi Savall Sun, Nov 4 4:00 PM Bing Concert Hall

FRANCE MASSACHUSETTS FRANCE BIRMINGHAM, ALABAMA 1685 1782 1848 1963

The “Black Code,” promulgated Abandoned by her master, The decree on the abolition In Why We Can’t Wait, which by Louis XIV, is the name by the slave Belinda Sutton, of slavery is published. describes the 1963 Birmingham which the royal edict of March aged 70 years, petitions the campaign, Martin Luther 1685 on the “Policing of Blacks” legislature of Massachusetts King Jr. writes, “Few people was enforced until 1848. for a pension as reparations consider the fact that, in after a lifetime of labor. addition to being enslaved for two centuries, the Negro was, during all those years, robbed of the wages of his toil.”

M1_StanfordLive_Magazine_September/October_Spreads_082018.indd 4 8/29/18 10:52 AM Part of the process of season planning involves visiting different venues to experience the works under consideration for Stanford Live. I believe that it’s crucial that one member

SEP / OCT 2018 OCT / SEP of the curatorial team sees a work live in advance of programming it. Over the summer, Laura Evans and I 1 were able to see a number of shows at Toronto’s Luminato 4 Festival. And just last month, 2 our new Frost Director of

Behind the Scenes Operations Mike Ryan and I toured Colorado’s stunning Red Rocks Amphitheater to better understand operating procedures at outdoor venues in preparation for reopening Frost Amphitheater next summer.

Here are a few shots from our travels. 3

CHRIS LORWAY EXECUTIVE DIRECTOR

1 2 3 4 RED ROCKS AT THE ILLUSIONIST’S MALPASO DANCE RIOT TABLE COMPANY

Red Rocks is a naturally In a private dining room, This Cuban company RIOT took the Dublin Fringe formed outdoor venue just Scottish illusionist Scott Silven performed Dreaming of Lions Festival by storm in 2016, outside of Denver. While there, hosted an evening of dining along with other works with winning the award for Best we saw the artists Portugal. and whiskey tasting interwoven Arturo O’Farrill and the Afro Production. It’s a fun mix The Man and Leon Bridges. with illusion, mentalism, and Latin Jazz Ensemble. of dance, drag, circus, storytelling. and comedy.

40 60 Bay Area locations. Stanford pediatricians, now in your neighborhood at Peninsula Pediatric Medical Group in Menlo Park Access to Excellence. FRED HARMAN FRED discipline to playclassically at musicians butlacked the a family of classically trained I grew upplayingtrumpetin Stanford Live begin? How didyour connectionto ahead to hisnew role. Stanford Live ashelooks shared histhoughtson Council this fall. Herecently becomes chairof ourAdvisory supporter Fred Harman Longtime Stanford Live Membership

SEP / OCT 2018 I suppose atavery basic performance? connects basketball andlive exciting timefor you! What State Warriors, thisisan As aco-owner of theGolden supporting Stanford Live. carried over asanalum main thingandthatnaturally productions. Musicwas my pit orchestra for Ram’s Head years!), JazzEnsemble, and Stanford Band(for justfive musical outletsincludingthe was grateful to findso many a highlevel. But atStanford, I Stephanie andFred Harmanpose with Wynton Marsalis following hisperformance inSeptember 2016. Meet Our Members 42 with Stanford Live now? deepen your involvement Hospital Board. Sowhy ontheStanfordserving commitments, suchas have many volunteer You and your wife, Stephanie, that mosteveryone iscraving. essential humanexperience moments bringusbackto an in front of screens, these Given allthetime we spend greatly enrichcommunity life. are emotionally powerful and communal experiences that level, both create shared, around Stanford. our community both inand performing artsonbehalfof Lorway’s aspirations for the support Stanford’s andChris Amphitheater. anhonorto It’s and thesoon-to-reopen Frost including BingConcert Hall stunning venues around, artists in some of themost some of theworld’s top organization thatpresents I love beinginvolved inan Membership Relaunch

Earlier this year, Stanford Live relaunched our membership program with streamlined membership levels and additional benefits.

Members can now enjoy 12 months of member benefits from the date of their membership gift, replacing our former season-based membership program. We offer four member presale levels, with no minimum ticket purchase, plus complimentary ticket exchanges throughout the season. At higher levels, members receive invitations to exclusive events, fee-free ticket orders, reserved parking, and more.

Not a Stanford Live member? Join today at

Stephanie and Fred Harman pose with Wynton Marsalis following his performance in September 2016. live.stanford.edu or contact the membership team at [email protected] or 650.725.8782. Join the Future of Frost

Stanford’s beloved Frost Amphitheater is undergoing an extensive renovation and will reopen in spring 2019. With a new, state-of-the-art stage, improved patron amenities, and accessibility, Frost will be able to host events in style—from concerts to ceremonies to screenings—including a Stanford Live summer performance series.

We invite you to be part of Frost’s exciting future. Your gift of any size will help renew this historic venue. Gifts of $1,000 or more will receive special recognition.

For more information or to give online, please visit arts.stanford.edu/frost.

43 ($15,000–$24,999) ($25,000+) Marlo Kahn Kitch &Justin Kitch Catherine &Franklin Johnson Morton Grosser Lynn &Jim Gibbons Shawn &Brook Byers Carol &MylesBerg Priscilla &Ward Woods David Wollenberg Bonnie &MartyTenenbaum Trine Sorensen &Michael Jacobson Marian &Abraham Sofaer Mindy &Jesse Rogers Barbara Oshman Phyllis Moldaw Deedee &Burton McMurtry Fong Liu Leslie &George Hume HornikFamilyThe Rick Holmstrom &Kate Ridgway Stephanie &Fred Harman Cynthia Fry Gunn&JohnA. Leonard Gumport&Wendy Munger Drs. Lynn Gretkowski &MaryJacobson Marcia &JohnGoldman Mary &Clinton Gilliland Jill Freidenrich Scott &Molly Forstall Jill &NormFogelsong Ann &JohnDoerr Roberta &Steven Denning BullardThe Family Helen &Peter Bing Jeanne &Larry Aufmuth Anonymous for their support: the following members Stanford Live thanks BING DIRECTOR’S CIRCLE BING CIRCLE Stanford Live Members

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Sally & Rob Jackson Beth Charlesworth Lorraine & Jerry Seelig Leigh & Roy Johnson Susan Christiansen Judy & Denis Severson Lil & Todd Johnson Albert & Betty Cohen Carla Shatz 2018–19 Advisory Council Katherine Jolluck & Norman Naimark Susie Cohen & Barry Weingast Matthew Sommer & Ih-hae Chang Carol Kersten & Markus Aschwanden Elaine Costello & Warren Dougherty Scott & Gayle Spencer The purpose of the Stanford Live Advisory Mary Lou Kilcline Richard & Suzanne Cottle Kathy Stark & Christopher Aoki Council is to support the mission of Stanford Barbara Klein & Stanley Schrier Patricia & Tim Daniels Elliot & Karen Stein Live and to provide advice on the strategic Renate Klipstas Lothar de Temple Suzanne Stout direction of the organization. Christina Kong Bernadine Donoghue Elizabeth Trueman & Raymond Perrault Jeffrey Koseff & Thalia Anagnos Debra Doucette Ina Trugman Fred Harman, Chair Linda & Fredric Kraemer Maureen & Paul Draper James Tuleya & Karen Hurst Edward & Miriam Landesman Ellen & Tom Ehrlich Brigitte & John Turneaure Jeanne Aufmuth Mr. & Dr. Kurt F. Lang Melanie & Stephen Erasmus Debbie Vallarino Peter Bing Cathy & Stephen Lazarus Patricia & Fred Evans Teri & Mark Vershel Rick Holmstrom Joan & Philip Leighton Joyce Farrell & Brian Wandell Lisa Voge-Levin David Hornik Doreen & David Leith Nancy & Tom Fiene Dr. and Mrs. R. Jay Whaley George H. Hume Roxanne Leung Barry Fleisher Jeri & Kevin Wheaton Leslie P. Hume Sanford Lewis Shelley Floyd & Albert Loshkajian Diane Wieder Bren Leisure Irene Lin Madeleine Frankel Curt Williams Betsy Matteson Drs. John & Penny Loeb Amy C. Friedman Warren Wu Linda Meier Teri Longacre & Richard Hildebrandt E. Alexander Glover Cristina Zappacosta Trine Sorensen Rachel & Zohar Lotan The Goldhaber-Fiebert Family Selma Zinker Srinija Srinivasan Kathryn Naylor Low Paul Goldstein & Dena Mossar Doug Tanner Patricia & George Lundberg Harry & Diane Greenberg David Wollenberg Vera Luth Linda & John Griffin PERFORMANCE SPONSORS Ruth Lycette Ann & Barry Haskell Jeanne & Larry Aufmuth Ex officio: Kathy Mach & David Scherer Tanya Hastings Helen & Peter Bing Maude Brezinski Charlene & Dick Maltzman Karin Heck The Bullard Family Stephen Sano S. Martin & R. Zemlicka Jeffrey & Caron Heimbuck Mary & Clinton Gilliland Matthew Tiews Marylin McCarthy Wendy & John Hillhouse Marcia & John Goldman Penny & Jim Meier Jeanne Hochman Stephanie & Fred Harman Elyce Melmon Bebe & Rich Hoppe Leslie & George Hume Bing Concert Hall Donors Evelyn Miller Rob Huffman & Emily Smith Trine Sorensen & Michael Jacobson Christine & Ronald Orlowski Edmon Jennings Bonnie & Marty Tenenbaum Shari & Donald Ornstein Patricia Johnson BUILDING DONORS David Wollenberg Nancy & Stephen Player Jane & Bill Johnson Barbara & Warren Poole Zeev Kaliblotzky Peter and Helen Bing Kitty & Lee Price Stina & Herant Katchadourian INSTITUTIONAL PARTNERS Cynthia Fry Gunn and John A. Gunn Richard & Karen Recht Ron Katz & Libby Roth John Arrillaga Family Christine Robles Barney & Keats $100,000+ Anne T. and Robert M. Bass Maureen & Paul Roskoph Shirley Kelley The Koret Foundation Roberta and Steve Denning Elise & Jay Rossiter Lynn & Richard Kelson Elizabeth and Bruce Dunlevie Loren & Shelley Saxe Michael & Wendy Kirst $50,000–$99,999 Jill and John Freidenrich Paula & George Schlesinger Norman & Nina Kulgein The William and Flora Hewlett Foundation Frances and Theodore Geballe Schwabacher Family Ralph & Rose Lachman Andrea and John Hennessy Robyn & Mark Setzen Uri Ladabaum $10,000–$49,999 Leslie and George Hume Craig Sherman & Susan Shin Cathy & Dick Lampman Anonymous Susan and Craig McCaw Judith & William Shilstone Catherine Kawon Lee California Arts Council Deedee and Burt McMurtry Diane & Branimir Sikic Y. K. Lee Chamber Music America Linda and Tony Meier Mary Ann Sing Laurie Leventhal-Belfer Nathan Cummings Foundation, Wendy Munger and Leonard Gumport Hannah & Richard Slocum Reuben Levy with the support and encouragement Jennifer Jong Sandling and Karen & Frank Sortino Claire & Herbert Lindenberger of Jaimie Mayer M. James Sandling Barbara & Charles Stevens Edward Lohmann Ann and Gordon Getty Foundation Regina and John Scully Tracy Storer & Marcia Kimes Marion & Erick Mack National Endowment for the Arts Madeline and Isaac Stein Eleanor Sue Nancy Marks & Steve Mitchel Drs. Ben and A. Jess Shenson Funds Akiko Yamazaki and Jerry Yang Rosi & Michael Taymor Jane & Thomas Marshburn Jan Newstrom Thompson & Paul Goldstein Mark Mathisen $1,000–$9,999 Penelope & Robert Waites Laure & Sam Mazzara Aaron Copland Fund for Music BING EXPERIENCE Joan & Roger Warnke James McClelland & Heidi Feldman Kinder Morgan Foundation FUND DONORS Patti & Ed White Meghan McGeary & Chih Sung New England Foundation for the Arts John & Jane Williams Maura McGinnity & Erik Rausch Western States Arts Federation With appreciation for the following Polly Wong & Wai Fan Yau Wallace Mersereau donors, who provide major support for Mitchell & Kristen Yawitz Alan F. Miller Contributions listed are from current Stanford programming and musical instruments Rudolf Moos Live members who made gifts through 8/8/18. for Bing Concert Hall. SUPPORTER Mary Mourkas For corrections, or to make a contribution, Coralie & Gerhard Mueller please contact us at 650.725.8782 or Anonymous ($250–$499) Kathryn & Peter Muhs [email protected]. Apogee Enterprises, Inc. Jean & Bryan Myers The Adolph Baller Performance Fund Anonymous (15) Fred & Kirstin Nichols To learn more about giving to Stanford Live, for Bing Concert Hall Matthew & Marcia Allen Theodor & Lisa Nissim visit live.stanford.edu/give. Friends of Music at Stanford Dana & Juliana Andersen Michael McFaul & Donna Norton Fred and Stephanie Harman Richard & Delores Anderson Joan Norton § Deceased Fong Liu Dan & Leslie Armistead Cynthia & James Nourse Elayne and Thomas Techentin, James & Jennifer Bae Richard Olshen in memory of Beatrice Griffin Anne & Robert Baldwin Dick & Sandi Pantages Bonnie and Marty Tenenbaum Betsy & George Bechtel Gary Peltz The Fay S. and Ada S. Tom Family Bethel Berhanu Joseph Pickering Pamela Bernstein Klaus & Ellen Porzig Turner Corporation Barbara Blatner-Fikes & Richard Fikes Lowell & Carole Price The Frank Wells Family Christopher & Jane Botsford Jennifer Rose Maurice and Helen Werdegar Caroline Bowker & Charles Bliss Ruth Rothman Ruth Brill John Sack & Jeff Rensch Beverly Brockway Linda Sampson Alex & Sonya Brousilovsky Lisa Scheidecker & Andrew Velline Jefferson Burch & Christine Weigen Angela & Samuel Schillace Lottie & Henry Burger Joy & Richard Scott Francis & Nancy Cavagnaro

45 Thu-Sat Wed NOV 1 & 2 NOVEMBER 8-10 DECEMBER 5 Barber Shop Chronicles Philharmonic Fire Fuel Theatre Company & Philharmonia Baroque the National Theatre Orchestra

Sat Fri NOVEMBER 10 DECEMBER 7 NOV / DEC 2018 NOV Calendar Czech Philharmonic Dwayne Dopsie and the Zydeco Hellraisers Wed NOVEMBER 14 Sat NOV Estonian Philharmonic DECEMBER 8 Chamber Choir Paula West Thu & Fri Thu Wed NOVEMBER 1 & 2 NOVEMBER 15 DECEMBER 12 Humans Circa Neil Gaiman in Conversation A Chanticleer Christmas

Fri Sat Fri NOVEMBER 30 DECEMBER 14 NOVEMBER 3 Decoda Ensemble Christmas Time Is Here H. K. Gruber’s Frankenstein Dianne Reeves Sun DEC Sat NOVEMBER 4 DECEMBER 15 The Routes of Slavery Sat Nat King Cole & Me Jordi Savall DECEMBER 1 Gregory Porter Miramar Wed Sun NOVEMBER 7 DECEMBER 16 David Bowie’s Blackstar Sonos Handbell Ensemble Ambient Orchestra with with Frederica von Stade Maya Beiser

NOV 7 NOV 8–10

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