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Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Seattle Opera's 2003/04 Season
FOR RELEASE: July 17, 2014 Press Contact: Gabrielle Nomura, 206.676.5559, [email protected]. Seattle Opera Projects Budget Surplus for 2013/14 Season Kate Lindsey and Asher Fisch Named Seattle Opera Artists of the Year Maryanne Tagney Elected as Board President Seattle – Seattle Opera is projecting a surplus for the 2013/14 season, to be confirmed with published audited financials in December 2014. The surplus will be used to replenish its operating reserves for future seasons, which were significantly lowered during the recent recession. On an operating budget of nearly $28 million, the company saw significant growth in contributions and ticket sales that both exceeded expectations for the year. This announcement comes following the company’s Annual Meeting at McCaw Hall on Tuesday, July 15. Seattle Opera Board President, Dr. William T. Weyerhaeuser thanked his fellow board members and donors for their generosity and support during his tenure as president. Contributing to Seattle Opera’s surplus this season were a variety of factors, including successful fundraising and ticket sales operations thanks to generous donors and subscribers, a slightly increased overall attendance of 95,000, and the economic impact of Wagner’s Ring cycle in August, 2013. Opera lovers from all 50 states and 22 foreign countries flocked to Seattle for this unforgettable experience of story, music, spectacle, and community. Seattle Opera Annual Meeting Page 2 of 6 “Speight’s single-minded focus on the art of opera has been an inspiration to us all,” said Board Chairman John Nesholm. “When Seattle Opera staff was tasked with creating its list of core values, ‘art matters’ is what came to the forefront; this is because of Speight. -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
2017 Academy Award BALLOT
2017 ACADEMY AWARD BALLOT BEST PICTURE DIRECTING COSTUME DESIGN FOREIGN LANGUAGE ARRIVAL ARRIVAL ALLIED FILM FENCES Denis Villeneuve Joanna Johnston LAND OF MINE — Denmark HACKSAW RIDGE HACKSAW RIDGE FANTASTIC BEASTS AND A MAN CALLED OVE — HELL OR HIGH WATER Mel Gibson WHERE TO FIND THEM Sweden HIDDEN FIGURES LA LA LAND Colleen Atwood THE SALESMAN — Iran LA LA LAND Damien Chazelle FLORENCE FOSTER TANNA — Australia LION MANCHESTER BY THE SEA JENKINS TONI ERDMANN — Germany MANCHESTER BY THE SEA Kenneth Lonergan Consolata Boyle MOONLIGHT MOONLIGHT JACKIE PRODUCTION DESIGN Barry Jenkins Madeline Fontaine ARRIVAL ACTOR IN A LA LA LAND FANTASTIC BEASTS AND LEADING ROLE SCREENPLAY Mary Zophres WHERE TO FIND THEM CASEY AFFLECK (ADAPTED) HAIL, CAESAR! Manchester by the Sea ARRIVAL MUSIC LA LA LAND ANDREW GARFIELD Screenplay by Eric Heisserer (ORIGINAL SCORE) PASSENGERS Hacksaw Ridge FENCES JACKIE —Mica Levi RYAN GOSLING Screenplay by August Wilson LA LA LAND — SHORT FILM La La Land HIDDEN FIGURES Justin Hurwitz (ANIMATED) VIGGO MORTENSEN Screenplay by Allison Schro- LION BLIND VAYSHA Captain Fantastic eder and Theodore Melfi Dustin O’Halloran and BORROWED TIME DENZEL WASHINGTON LION Hauschka PEAR CIDER AND Fences Screenplay by Luke Davies MOONLIGHT CIGARETTES MOONLIGHT Nicholas Britell PEARL ACTRESS IN A Screenplay by Barry Jen- PASSENGERS PIPER LEADING ROLE kins; Story by Tarell Alvin Thomas Newman ISABELLE HUPPERT McCraney SHORT FILM Elle MUSIC (LIVE ACTION) RUTH NEGGA SCREENPLAY (ORIGINAL SONG) ENNEMIS INTÉRIEURS Loving (ORIGINAL) AUDITION (THE -
Concert Program for October 22 and 23, 2009
Concert Program for October 22 and 23, 2009 David Robertson, conductor Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director IVES The Unanswered Question (c. 1908) (1874-1954) BARBER Adagio for Strings (1936) (1910-1981) ROLLO DILWORTH Freedom’s Plow (2009) World Premiere (b. 1970) Saint Louis Symphony IN UNISON® Chorus Robert Ray, director Intermission TIPPETT A Child of Our Time (1939-41) (1905-1998) Part I Chorus: The world turns on its dark side The Argument: Man has measured the heavens Scena: Is evil then good? Now in each nation Chorus of the Oppressed: When shall the usurers’ city cease I have no money for my bread How can I cherish my man in such days A Spiritual: Steal away Part II Chorus: A star rises in mid-winter And a time came Double Chorus of Persecutors and Persecuted: Away with them! Where they could, they fled Chorus of the Self-righteous: We cannot have them in our Empire And the boy’s mother wrote a letter Scena: O my son! A Spiritual: Nobody knows the trouble I see Scena: The boy becomes desperate in his agony They took a terrible vengeance. The Terror: Burn down their houses! Men were ashamed of what was done A Spiritual of Anger: Go down, Moses The Boy sings in his Prison: My dreams are all shattered What have I done to you, my son? The dark forces rise like a flood A Spiritual: O, by and by Part III Chorus: The cold deepens The soul of man Scena: The words of wisdom are these General Ensemble: I would know my shadow and my light A Spiritual: Deep river Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director David Robertson is the Beofor Music Director and Conductor. -
Metamorphoses Curated by Claire Chase Soundbox
METAMORPHOSES CURATED BY CLAIRE CHASE SOUNDBOX 1 “Each of the pieces on this program explores, in different ways, the idea of metamorphosis, transformation, transfiguration—the ways that we take on new forms and ultimately transcend what we were before.” —Claire Chase 2 Esa-Pekka Salonen SAN FRANCISCO SYMPHONY MUSIC DIRECTOR San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile conducting roles and work as a leading composer, shaped a unique vision for the present and future of the contemporary symphony orchestra. Salonen recently concluded his tenure as Principal Conductor & Artistic Advisor for London’s Philharmonia Orchestra and he is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in Los Angeles, where he developed and directs the pre-professional Negaunee Conducting Program. Salonen is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. Salonen co-founded— and from 2003 until 2018 served as the Artistic Director for—the annual Baltic Sea Festival. 3 The Orchestra Esa-Pekka Salonen, Music Director SECOND VIOLINS CELLOS Michael Tilson Thomas, Music Director Laureate Dan Carlson, Principal Vacant, Principal Herbert Blomstedt, Conductor Laureate Dinner & Swig Families Chair Philip S. Boone Chair Daniel Stewart, San Francisco Symphony Youth Helen Kim, Associate Principal Peter Wyrick, Associate Principal Orchestra Wattis Foundation Music Director Audrey Avis Aasen-Hull Chair Peter & Jacqueline Hoefer Chair Ragnar Bohlin, Chorus Director Jessie Fellows, Assistant Principal Amos Yang, Assistant Principal Vance George, Chorus Director Emeritus Vacant Vacant The Eucalyptus Foundation Second Century Chair Lyman & Carol Casey Second Century Chair FIRST VIOLINS Raushan Akhmedyarova Barbara Andres Alexander Barantschik, Concertmaster David Chernyavsky The Stanley S. -
Christine Brewer, Soprano and Craig Terry, Piano
Old Dominion University 2018-2019 F. Ludwig Diehn Concert Series Christine Brewer, soprano Craig Terry, piano Concert: October 15, 7:30 p.m. Master Class: October 16, 12:30 p.m. Wilson G. Chandler Recital Hall F. Ludwig Diehn Center for the Performing Arts arts@odu Program Dich, teure Halle Richard Wagner (1813 – 1883) from Tannhäuser Wesendonck Lieder Richard Wagner Der Engel Stehe Still Im Treibhaus Schmerzen Träume September Richard Strauss (1864 – 1949) from Vier Letzte Lieder Ich liebe dich Allerseelen Breit über mein Haupt Zueignung INTERMISSION With a Song in My Heart Richard Rodgers (1902 – 1979) from Spring is Here Sing to Me, Sing Sidney Homer (1864 – 1953) Review Celius Dougherty (1902 – 1986) Hickory Hill Paul Sargent (1910 – 1987) Come Rain or Come Shine Harold Arlen (1905 – 1986) I Had Myself a True Love from St. Louis Woman Happiness is Just a Thing Called Joe Harold Arlen from Cabin in the Sky When I Have Sung My Songs Ernest Charles (1895 – 1984) Love Went A-Riding Frank Bridge (1879 – 1941) An endowment established at the Hampton Roads Community Foundation, made possible by a generous gift from F. Ludwig Diehn, funds this program. Translations Dich, teure Halle – Tannhäuser Be Still! – Stehe Still! by Richard Wagner Hurrying, scurrying wheel of time Marking out eternity; You, dear hall, I greet again... Glowing spheres in distant space I gladly greet you, beloved room! Circling us with gravity; All sempiternal generation, cease! In you, I still hear his songs Enough of that – let me know peace! Which waken me from my gloomy dream When he departed from you Desist, now, creative powers; How desolate you appeared to me. -
Mohammed Fairouz: an Appreciation by Rick Schultz
Artist Biographies & Liner Notes “Zabur” Indianapolis Symphonic Choir Mohammed Fairouz: An Appreciation by Rick Schultz Zabur is Mohammed Fairouz's first oratorio, a genre for large orchestra, choir and soloists going back centuries. Such rich musical soil allows Fairouz to create a sacred dialogue -- a dialogue not just between characters, but also between the artist and his listeners. From its powerful choral opening, Zabur doesn't let up, placing us directly into a theater of war where a city is under siege. Like one of his literary predecessors, English poet William Blake, Fairouz rages against those "who would if they could, for ever depress Mental & prolong Corporeal War." Fairouz, an Emirati-American composer, once characterized himself as a "creature of the desert," referring to his deep Middle Eastern roots. Dry desert winds often drift across his emotionally resonant musical landscapes. But Fairouz, one of our country's most essential storytellers, isn't out to lecture anyone. His mission, if he has one, is to beautify the world -- to create art as a counterforce to dehumanization, as a bridge to our universal past. One of Fairouz's most aching and ravishing scores, Zabur conjures a timeless world in song settings of epic grandeur and shattering intimacy. Like his Symphony No. 3 ("Poems and Prayers"), Zabur becomes an enticement to feel. By revealing our shared emotions and experiences, Fairouz allows us to recharge our humanity amid a surfeit of numbing images of disaster and atrocity. At the conclusion of "Poems and Prayers," Fairouz sets Yehuda Amichai's poem "Memorial Day for the War Dead," in which the poet hopes that behind so much sorrow, "some great happiness is hiding." Paradoxically, what makes Zabur such a compelling war requiem is its optimism. -
Chorale Fantasy.MUS
MOHAMMED FAIROUZ CHORALE FANTASY for String Quartet MOHAMMED FAIROUZ CHORALE FANTASY for String Quartet Chorale Fantasy was written in response to the Borromeo String Quartet’s initiative to com- mission a set of chorale preludes. This short work lives in the world between maqam (Arabic modes) and gentle counterpoint. It opens with a short introduction leading to a violin line with unheard lyrics against an insisting drone. It then conspires into a whirling dance reaching a vocal climax and returns at the end to the gentleness of the opening. All of the parts of Chorale Fantasy are written within the singing range of the human voice. The work is affectionately dedicated to the Borromeo Quartet. —Mohammed Fairouz Chorale Fantasy is recorded on "Native Informant," Naxos American Classics CD 8.559744, performed by the Borromeo String Quartet. Mohammed Fairouz, born in 1985, is one of the most frequently performed, commissioned, and recorded composers of his generation. Hailed by The New York Times as “an important new artistic voice” and by BBC World News as “one of the most talented composers of his generation,” Fairouz melds Middle-Eastern modes and Western structures to deeply expressive effect. His large-scale works, including four symphonies and an opera, engage major geopolitical and philosophical themes with persuasive craft and a marked seriousness of purpose. His solo and chamber music attains an “intoxicating intimacy,” according to New York’s WQXR. A truly cosmopolitan voice, Fairouz had a transatlantic upbringing. By his early teens, the Arab- American composer had traveled across five continents, immersing himself in the musical life of his surroundings. -
Vivianfung|Composer
vivianfung|Composer “Her music ... summons images of dusk and reaches for hidden places and states of mind.” San Jose Mercury News Vivian Fung Phone: (917) 535-0050 Email: [email protected] Website: www.vivianfung.net Vivian Fung has distinguished herself as a composer with a unique and powerful compositional voice. Since earning her doctorate from The Juilliard School in 2002, she has forged her own approach often merging western forms with non-western vivianfung|Composer influences such as Balinese and Javanese gamelan and folk songs from minority regions of China. The New “…as vital as encountering Steve Reich or the York Times has described her work as ―evocative,‖ Kronos for the first time.” and The Strad hails her Uighur-influenced music to be The Strad ―as vital as encountering Steve Reich or the Kronos for the first time.‖ Chicago Tribune described Fung‘s Yunnan Folk Songs as conveying ―a winning rawness that went beyond exoticism.‖ Fung has traveled extensively for her work. In 2004, she traveled to Bali, Indonesia Highlights of Fung's recent world as part of the Asia Pacific Performance Exchange premieres include: her Violin Concerto for Kristin Program, sponsored by the UCLA Center for Lee and Grammy nominated Metropolis Ensemble, Intercultural Performance. In summer 2010, as an Dust Devils commissioned by the Eastern Music ensemble member of Gamelan Dharma Swara, she Festival celebrating their 50th anniversary, Yunnan completed a performance tour of Bali including Folk Songs by Fulcrum Point New Music Project in competing in the Bali Arts Festival. Chicago; new choral works by the acclaimed Suwon Civic Chorale in South Korea; Chant by pianist Fung‘s works have increasingly Margaret Leng Tan at the Museum of Modern Art in become part of the core repertoire. -
Oliver Knussen Ensemble Signal Brad Lubman, Conductor
Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Thursday, April 18, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Rachel Calloway, mezzo-soprano Jamie Jordan, soprano Courtney Orlando, violin Thursday, April 18, 8:00 p.m. Ophelia Dances, Book 1 (1975) Oliver Knussen (b. 1952) Brad Lubman, conductor Secret Psalm (1990) Courtney Orlando, violin Hums and Songs of Winnie-the-Pooh (1970/1983) I. Aphorisms: 1. Inscription 2. Hum 3. The Hundred Acre Wood (Nocturne) 3a. Piglet Meets a Heffalump 4. Hum, continued, and Little Nonsense Song 5. Hum 6. Vocalise (Climbing the Tree) 7. Codetta II. Bee Piece III. Cloud Piece Jamie Jordan, soprano Brad Lubman, conductor INTERMISSION Miller Theatre at Columbia University 2012-13 | 24th Season Onstage discussion with Oliver Knussen and Brad Lubman Songs without Voices (1991-92) I. Fantastico (Winter’s Foil) II. Maestoso (Prairie Sunset) III. Leggiero (First Dandelion) IV. Adagio (Elegiac Arabesques) Brad Lubman, conductor Requiem – Songs for Sue (2005-06) Rachel Calloway, mezzo-soprano Brad Lubman, conductor This program runs approximately one hour and 20 minutes, including a brief intermission. Major support for Composer Portraits is provided by the Francis Goelet Charitable Lead Trusts. Composer Portraits is presented with the friendly support of Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request.