Cameron Carpenter Unleashes His Touring Organ, a Look at Bernstein and the American Sound, Plus the Greatest Backup Singer of All Time

PERFORMING ARTS MAGAZINE

INSIDE JAN / FEB 2018 Cameron Carpenter unleashes his touring organ, a look at Bernstein and the American Sound, plus the greatest backup singer of all time.

StanfordLive_Magazine_Jan_Cover.indd 1 12/21/17 11:35 AM CONTENTS

Stanford Live Staff p—5 & Sponsors

Welcome p—6

Upcoming Events p—8

Scene & Heard p—14

Behind the Scenes p—33 Leonard Bernstein.. Membership p—34 A Political Life Stanford Live & p—36 Bing Concert Hall By Barry Seldes Donors

Calendar p—38

Plan Your Visit p—39

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archaeology · art history · art studio · business · classics · communication · creative writing · cultural studies · current events · dance · design lm studies · history · languages · law · linguistics · literature · music · online writing · personal development · philosophy · photography Infographic Artist Voices

religious studies · science · sociology · sports · technology & computer science · theater & performance studies · video · web design Cameron Carpenter’s International Rob Kapilow on Bernstein’s Touring Organ West Side Story

p—16 p—22

Featurette Featurette We invite you to join our open learning community. Benjamin Millepied’s Composing the American Sound L.A. Dance Project Winter quarter is underway. There are many late-start courses available for registration. p—18 p—30 Please visit our website to view all courses and to enroll.

Photo Essay

Darlene Love: The Greatest Backup Singer Ever

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EAP full-page template.indd 1 11/15/17 1:33 PM Jan/Feb 2018 STANFORD LIVE MAGAZINE JAN / FEB 2018 Volume 10, No. 3

STAFF FOUNDATION & GOVERNMENT PARTNERS

Paul Heppner Chris Lorway Publisher Executive Director

Susan Peterson Bryan Alderman Design & Production Director Assistant Director of Development Rory Brown Ana Alvira, Robin Kessler, Operations Manager Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Diana Burnell Assistant Ticket Office Manager

Mike Hathaway Robert Cable Sales Director Communications Manager IN-KIND PARTNERS Ryan Davis Amelia Heppner, Marilyn Kallins, Associate Director of Engagement and Public Programs Terri Reed Robert DeArmond San Francisco/Bay Area Account Executives Web Developer Brieanna Bright, Laura Evans Joey Chapman, Ann Manning Director of Music Programs, Education, and Engagement Seattle Area Account Executives Drew Farley Technical Manager Carol Yip Ben Frandzel Sales Coordinator Institutional Gifts and Community Engagement Officer

Elisa Gomez-Hird MEDIA PARTNERS HR and Administrative Associate

Sierra Gonzalez Director of Marketing, Communications, and Patron Services

Danielle Menona Development Associate

Maurice Nounou Paul Heppner Assistant Director of Ticketing and Sales President Noreen Ong Stanford Live’s 2017–18 season is generously supported by Executive and Contracts Administrator Helen and Peter Bing. Mike Hathaway Egan O’Rourke Underwriting for student ticket discounts for the 2017–18 Vice President Audio/Video Assistant Manager season is generously provided by the Bullard family. Genay Genereux Kimberly Pross Accounting & Office Manager Director of Production Jeremy Ramsaur Sara Keats Lighting Manager Marketing Manager Nicola Rees Director of Development Ciara Caya Customer Service Representative & Toni Rivera Administrative Assistant Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager

Jan Sillery Corporate Office General Manager th 425 North 85 Street Seattle, WA 98103 Bill Starr p 206.443.0445 f 206.443.1246 House Manager [email protected] Krystina Tran 800.308.2898 x105 Marketing Manager www.encoremediagroup.com

PHOTO CREDITS

On the cover: Cameron Carpenter photo by Heiko Laschitzki. Page 3: Leonard Bernstein photo by Allan Warren, 1973. Encore Arts Programs is published monthly by Encore Media Page 6: Illustration by Hybrid Design. Pages 14 & 15: Photos 1, 3, 5, 6, and 8 by Harrison Truong; 2, 4, and 7 by Azar Kafaei. Group to serve musical and theatrical events in the Puget Pages 16 & 17: Photos by Marco Borggreve. Page 18: Photo by Rose Eichenbaum. Page 20: Photo by Christopher Logan. Sound and San Francisco Bay Areas. All rights reserved. Page 24: Photo by Paul de Hueck, courtesy of Leonard Bernstein Office. Page 27: Photo by Al Ravenna, 1955, courtesy of ©2018 Encore Media Group. Reproduction the Library of Congress. Page 28: Photo by Bob Serating. Page 30: Aaron Copland photo by Eric Auerbach. Page 32: without written permission is prohibited. Photo by Carl Van Vechten. Page 34: Photo by Steve Castillo. Page 35: Photo 2 by Harrison Truong; 3 and 4 by Joel Simon.

EAP full-page template.indd 1 11/29/17 4:23 PM WELCOME

CHRIS LORWAY

EXECUTIVE DIRECTOR

“Jazz is a white term to define black people. My music is black classical music.”

—NINA SIMONE

It could be argued that the 20th We kick off 2018 with performances by Stanford Live presents century in America was when one of the country’s oldest orchestras, a wide range of the finest the country solidified its identity the St. Louis Symphony, and one of its performances from around the through innovation and growth. newest dance ensembles, Benjamin world, fostering a vibrant learning “My bankers at First Republic are the best: thoughtful, The arts were a big part of this, Millepied’s collaborative L.A. Dance community and providing dis- giving voice to both the triumphs Project, which has injected a new energy tinctive experiences through the thorough and proactive. Th ey don’t miss a beat.” and the pains that faced the into the Los Angeles dance scene. We’ve performing arts. With its home at MAX WEINBERG nation during this period. In the also added new shows including k.d. Bing Concert Hall, Stanford Live is Rock & Roll Hall of Fame Drummer and Real Estate Investor coming months, Stanford Live lang, Stew, and Ute Lemper, alongside simultaneously a public square, a continues its exploration of this talks by the acclaimed music critic Alex sanctuary, and a lab, drawing on artistic evolution—presenting Ross and iconic filmmaker John Waters. the breadth and depth of Stanford the music of Charles Ives and University to connect perfor- Duke Ellington and living national Finally, Stanford Live is excited to mance to the significant issues, treasures like Darlene Love (who joins announce a new partnership with the ideas, and discoveries of our time. forces with the Stanford Symphony Stanford Concert Network to bring a Orchestra in February). We also mark series of student-curated performances the centenary of Leonard Bernstein, to the Bing Studio. Read about the who—as educator, collaborator, project and the students involved on activist, and musical populist—was page 33. (855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC a powerful voice throughout this MEMBER FDIC AND EQUAL HOUSING LENDER “American Century.”

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INTERACTION AUDIENCE AMPLIFICATION Upcoming Events

JAN / FEB 2018 No. 1. Shostakovich’s Symphony Britten’s Violin Concerto, and Powder HerFace, Benjamin Adès’ nation—performs Thomas the second oldestinthe The St. Louis Symphony— 7:30 PM JANUARY 19, FRIDAY, WHEN: Augustin Hadelich: Hadelich: Augustin David Robertson: Dances from theopera Music Director Symphony St. Louis CLASSICAL Violin HALL BING CONCERT VENUE:

8 lady ruledanightclub. swagger of anera whena the mic,sheevokes the tilt. Whenshesteps upto played andsang atfull where sheunabashedly of Ana Gasteyer onsixseasons Audiences fell inlove with 10:00 PM JANUARY 27, SATURDAY, &PM 8:00 JANUARY 26, FRIDAY, WHEN:

Saturday Night Live, Music Director Lance Horne: Gasteyer

Ana Ana POP HALL STUDIO BING CONCERT VENUE:

the musicof the1970s. to church where thegospelis Fleisher takes theaudience Rather BigBandbehindhim, American pop. With his was thevery bestyear in to theproposition that1975 burning concertisdevoted This roof-raising, barn- 8:00 PM &PM 10:00 JANUARY 27, SATURDAY, JANUARY 26, FRIDAY, WHEN: in Concert: 1975 Julian Fleisher Music Director Lance Horne: POP HALL STUDIO BING CONCERT VENUE:

for Arts the National Endowmentthe Generously supported by and composers. visual artists, musicians, in collaboration with small group of dancers to make new work for a L.A. DanceProject in2012 Millepied founded the Artistic Director Benjamin Former Paris Opera Ballet 7:30 PM JANUARY 27, SATURDAY, JANUARY 26 & FRIDAY, WHEN: Benjamin Millepied: Artistic Director Director Artistic L.A. Dance Project DANCE JANUARY 26 TALK: POST-SHOW AUDITORIUM MEMORIAL VENUE:

401 Webster Street,PaloAlto,CA94301websterhousepaloalto.org Chris GandelandMisty, joinedin2014 activities, shecancontinuetoliveinherbeautiful,independent Chris andMistyhavefoundtheirplaceatWebster House, living apartment.To learnmoreorforyourpersonalvisit, everything is taken care of. Chris has real peace of mind everything istakencareof.Chrishasrealpeaceofmind Palo Alto’s mostappealingLifePlanCommunitywhere knowing that if she ever needs assistance with her daily knowing thatifsheeverneedsassistancewithherdaily SMILES Our lifehere Communities. LicenseNo.435294364COA#246.EPWH755-01KB090117 A not-for-profit communityownedandoperatedby Episcopal Senior Frequent Wags. please call650.838.4004. Amazing CLASSICAL THEATER POP Reach Your Highest Cameron Counting Sheep: Darlene Business Potential Carpenter A Guerrilla Folk Love • Make getting reviews a breeze • Show up higher in search results Featuring the Opera With the Stanford • Appear in “near me” searches International Touring Symphony Orchestra Organ Lemon Bucket Orkestra www.real.review

WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: SATURDAY, BING CONCERT WEDNESDAY, BING CONCERT FRIDAY, BING CONCERT FEBRUARY 3, HALL FEBRUARY 7– HALL STUDIO FEBRUARY 9, HALL 7:30 PM SATURDAY, 7:30 PM FEBRUARY 10, CLASSICAL POP 8:00 PM Jeremy Denk and Notes of a Stefan Jackiw Native Song In a performance that A sensation at the 2016 For more than 50 years, promises to be one of a kind, Edinburgh Festival Fringe, singer Darlene Love has Play Ives Stew and the Carpenter—who will be in Counting Sheep, a Ukrainian been making rock and Negro Problem residence on campus—will folk opera (featuring Toronto’s roll’s world go ’round. be playing his revolutionary Lemon Bucket Orkestra, a Presented in partnership digital International Touring guerrilla-folk party-punk with Music at Stanford and Organ. band), recounts Ukraine’s generously supported by the Maidan Revolution. WHEN: VENUE: WHEN: VENUE: Bullard Family SUNDAY, BING CONCERT FRIDAY, BING CONCERT JANUARY 28, HALL FEBRUARY 2, HALL STUDIO 2:30 PM 8:00 PM

JAZZ CLASSICAL THEATER SATURDAY, FEBRUARY 3, 2:30 & 8:00 PM Bill Charlap Sundays with The Fever

POST-SHOW Trio the St. Lawrence TALK: EVENINGS Uptown/Downtown: St. Lawrence 600 HIGHWAYMEN Jeremy Denk, piano virtuoso The singer-songwriter Stew— From Broadway to Harlem String Quartet and a MacArthur “Genius” known for his 2008 Tony award winner, visits the Bing winner, Passing Strange—

with noted violinist Stefan pays homage to the art and WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: Jackiw—and members of the activism of James Baldwin. SATURDAY, BING CONCERT SUNDAY, BING CONCERT WEDNESDAY, BING CONCERT FEBRUARY 10, HALL FEBRUARY 11, HALL FEBRUARY 14 HALL STUDIO Stanford Chamber Chorale— 7:30 PM 2:30 PM & THURSDAY, FEBRUARY 15, for a performance of all the 8:00 PM sonatas of Charles Ives. FRIDAY, FEBRUARY 16, Generously supported by Trine 7:00 & 9:00 PM Sorensen and Michael Jacobson Charlap brings us on a tour Joining forces with guest 600 HIGHWAYMEN present of American popular song violist Masumi Per Rostad, the a story about a party and with vocalists Mary Stallings SLSQ performs a new work request your participation. and Freddy Cole. by Stanford composer Mark Generously supported by the Applebaum, alongside works Generously supported by the New England Foundation for the by Mozart and Tchaikovsky. Koret Foundation Arts’ National Theater Project, Presented in partnership with with lead funding from the

J AZZ PROJECT Music at Stanford Andrew W. Mellon Foundation

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INTERACTION AUDIENCE AMPLIFICATION Upcoming Events

JAN / FEB 2018 for Arts the National Endowmentand the Western States Federation Arts Generously supported by the Steve Reich. Charles Ives, JohnCage, and Americans Lou Harrison, Canadian Colin McPheeand captivated composers like art of gamelanhas The traditional Balinese Beethoven andSchubert. No. 1,alongsideworks by the Dohnányi Piano Quintet Marc-André Hamelinfor Canadian pianovirtuoso the Takács partnerswith anticipated visits to theBing, In thelatest of its highly 7:30 PM 7:30 PM FEBRUARY 28, WEDNESDAY, WHEN: FEBRUARY 23, FRIDAY, WHEN: Marc-André Hamelin: Takács Quartet Dance of Bali Gamelan and Çudamani: CLASSICAL Piano Piano WORLD HALL BING CONCERT VENUE: HALL BING CONCERT VENUE:

12 different languages. deprecation, alove story in full of humorandself- and off. Monchichi isapiece Ramirez, acoupleonstage created by theduoWang contemporary dancewas This fusion of hip-hopand Area MusicAwards. Band attheWashington the Year andBestFolk them thetitles Artist of roots musicearned originals andreimagined Jacksons’ playfully creative of Americana,theBumper Bursting with richthreads 8:00 & 10:00 PM 8:00 &10:00 8:00 PM FEBRUARY 24, SATURDAY, WHEN: FEBRUARY 28, WEDNESDAY, WHEN: Bumper Jacksons Bumper Wang Ramirez Monchichi Company DANCE POP HALL STUDIO BING CONCERT VENUE: HALL STUDIO BING CONCERT VENUE:

American classicalmusic. to fashion adistinctly composers have sought how some of thegreatest Studio whenhediscusses 1996. JoinhimintheBing of theNewYorker since has beenthemusiccritic MacArthur Fellow Alex Ross 6:00 PM FEBRUARY 26, MONDAY, WHEN: visit live.stanford.edu. For thefull calendar, and March 2 January 19, February 23, Network by theStanford Concert Emerging Artists Curated Save theDate Tenenbaum by BonnieandMarty Generously supported What Makes ItGreat? Rob Kapilow’s FEBRUARY 7 Helen andPeter Bing Generously supported by Renée Fleming JANUARY 31 More Events The Search for the for Search The American Sound Alex Ross DISCUSSION HALL STUDIO BING CONCERT VENUE: FREE

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JAN / FEB 2018 6 1 4 14 2 7 8 5 3 on September 27and28. Area engagementatStanford which hadits exclusive Bay Company Lions, inUntil the with Akram KhanDance Ching-Ying Chien performs 7 Bing Studio onNovember 8. a teacher workshop inthe history of thebluesduring Shelby looked atthe matinee, bassistMarcus Sweet Thunderstudent In advance of hisSuch 5 3 videos. to aseries of experimental among other instruments, stage playinghisviolin, orchestra,” took theBing dubbed a“one-man innovator Andrew Bird, On October 20, theindie Petersburg. Mariinsky Theatre inSt. from theOrchestra of the string players andsoloists Ensemble, comprisingtop Gergiev ledhisStradivarius On October 29, Valery 1 MARCUS SHELBY UNTIL THE LIONS ANDREW BIRD ENSEMBLE STRADIVARIUS

2 “first ladyof late night.” Correll interviewed America’s sociology professor Shelley November 10whenStanford Memorial Auditorium on It was apacked house in 4 in November. presented intheBingStudio the castof TheDaisyTheatre, Burkett works hismagicwith Master puppeteer Ronnie SAMANTHA BEE THE DAISY THEATRE they sponsored onOctober 6. Tolling, whose performance Jain, pose with violinistMads Allison HarmanandRavina along with theirdaughter Stephanie andFred Harman, 8 6 Bing Studio inOctober. multiperformance runinthe members before the play’s Asha, charmsaudience cocreator of ABrimful of Asha Jain,costar and A BRIMFUL OF ASHA MADS TOLLING The organ also contains an internal LED lighting system that can be wirelessly controlled by the venue lighting technician. an Organ

CAMERON CARPENTER

Carpenter’s organ is the eighth built by the company. He commissioned it in 2013, after years of design discussions, and premiered it at Lincoln Center in Anatomy New York in 2014. of Carpenter used the The heart of the ITO ITO to record his is a supercomputer Designed by Cameron Carpenter fell in love with 2014 Sony Classical that contains Cameron Carpenter the organ at age four. For the next 20 Cameron Carpenter CD/DVD, If You Could samples from 34 and constructed by years, loving the organ meant loving the Featuring the Read My Mind, with great American pipe master organ builders pipe organ—from the tiny instrument International Touring music ranging from organs, including Marshall & Ogletree in his Pennsylvania hometown to the Organ Leonard Bernstein’s three organs from of Needham, great organs at the Royal Albert Hall, Feb 3, 7:30 PM Candide and Marcel Cameron Carpenter’s Massachusetts, the Disney Hall, the Berlin Philharmonie, Bing Concert Hall Dupré’s virtuosic childhood. ITO is the first digital and hundreds more. But it was playing Variations sur un Noël touring organ to the Marshall & Ogletree organ at Trinity to Astor Piazzolla, be heard on four Church Wall Street in 2004 that made Leonard Cohen, continents: a full- him realize the instrument’s potential Gordon Lightfoot, scale portable organ beyond being merely a “pipe organ.” and some of his own The console sonically tailorable compositions. to any acoustic footprint is environment. approximately 9’ x 7’.

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StanfordLive_Magazine_Jan/Feb_Spreads.indd 1 12/22/17 10:20 AM StanfordLive_Magazine_Jan/Feb_Spreads.indd 2 12/22/17 10:20 AM FEATURETTE STANFORD LIVE MAGAZINE JAN / FEB 2018

“In a single evening, LADP’s repertory can stretch from early American modern dance such as Graham and Cunningham to Ohad Naharin and new creations by Benjamin Millepied.”

—RACHELLE RAFAILEDES COMPANY DANCER

such as Graham and Cunningham to create dance films in the beautiful to Ohad Naharin and new creations locations that LA has to offer. by Benjamin Millepied. The extreme L.A. Dance Project Los Angeles is often associated performing Murder Ballades, diversity in the repertory is unlike many featuring choreography by other companies. Another aspect with its film and entertainment Justin Peck and an original of L.A. Dance Project that is unique industry but also has an established score by Bryce Dessner. visual arts scene. Do the visual arts is that the company often performs influence the making of the work? in unconventional venues and via unconventional methods such as Benjamin is very interested in UNPARALLELED exclusively online live performances. collaborating with artists from all PERSONAL SERVICE Benjamin Millepied’s From Los Angeles’ Union Station to different genres when he is making IN ALL-INCLUSIVE Philip Johnson’s Glass House and or commissioning new work. He is LUXURY the gardens of Versailles, LADP very in tune with what is happening in many aspects of the art world, and pushes the boundaries of where L.A. Dance Project I think he is excited to collaborate In the heart of Silicon Valley, no and how dance can be presented. with artists that he admires and detail has been overlooked at respects, regardless of the medium. Becoming a Company Like No Other How does Los Angeles affect the The Clement Hotel. Palo Alto’s We have had beautiful sets made making of the work somehow, newest and most inspiring urban by Barbara Kruger, Mark Bradford, especially now that L.A. Dance Project retreat, providing personalized Liam Gillick, Christopher Wool, and L.A. Dance Project presents a fusion choreographed the movie Black Swan. Dancer Rachelle Rafailedes shared a has a permanent home in Los Angeles? Sterling Ruby. Original scores by Nico concierge services, privacy, & of top-notch balletic technique, But as head of L.A. Dance Project, few thoughts with us about her own take Muhly have been commissioned as all inclusive food and beverage choreographic innovation, and he is charting new frontiers for ballet on L.A. Dance Project’s unique verve. As a dancer, Los Angeles as a city is well as costumes designed by Rodarte in a luxurious residential multidisciplinary collaboration. in the 21st century. The company a breath of fresh air. It feels like there and Alessandro Sartori. A focus of environment. Founded in 2012, L.A. Dance Project champions dynamic emerging What would you say distinguishes is an excitement about dance and art L.A. Dance Project is to bring many is led by powerhouse choreographer choreographers, such as Justin Peck, L.A. Dance Project from other in general. In other cities that have ALL-INCLUSIVE LUXURY. art forms together to create work whose will appear in repertory companies? established histories in dance, things and director Benjamin Millepied. Murder Ballades that is fresh and forward-thinking. EXCLUSIVELY FOR YOU. can start to feel predictable; however, Having established his career in its program at Stanford, alongside the I think what distinguishes L.A. Dance the traditional centers of the dance new Second Quartet by Noé Soulier. Project from other repertory companies in LA there is a feeling of spontaneity and risk-taking that is refreshing. I world—as a principal dancer and While supporting new original dance is the wide spectrum of dance that the L.A. Dance Project THE CLEMENT HOTEL choreographer at the New York City compositions, the company is also company performs as well as the means think that vibrant energy finds its Fri, Jan 26 & Sat, Jan 27 711 El Camino Real Palo Alto, CA 94301 Ballet and later as artistic director expanding the dimensions of dance in which it presents work. In a single way into the work that is made. I 7:30 PM of the Paris Opera Ballet—Millepied into an array of other media—from evening, LADP’s repertory can stretch also believe that the city inspires our Memorial Auditorium www.theclementpaloalto.com is most widely known for having cinema to fashion and digital curation. from early American modern dance director, Benjamin Millepied, to want P 650.322.7111 | F 650.322.7222

18 19 Phil Spector 1962 Darlene Love caught the ear of groundbreaking producer Phil Spector and went on to sing backup (and uncredited lead) on the most well-known “girl group” songs to come out of his hit factory.

1963 “Be My Baby,” the Ronettes Along with Love, Phil Spector invited a pre-famous Cher, Sonny 1964 Bono, Bobby Sheen, and Nino Tempo to participate in the backup

Darlene Love: vocal sessions for the hit “Be My Baby.” It was the first Ronettes song produced by Spector and it exemplifies his “Wall of Sound” production technique, where he layered lots of instruments and used echo effects.

The Blossoms with Marvin Gaye With the Blossoms, Love contributed 1968 backing vocals behind many of the “If I Can Dream,” biggest stars of the 1960s, among them Elvis Presley Marvin Gaye. In 2015, she joined an “If I Can Dream” ranks as all-star tribute to the singer to promote Love’s all-time favorite epilepsy awareness. Elvis song. She sang backup on his historic The Greatest Backup Singer Ever Ever Singer Backup Greatest The NBC special with the Blossoms and remembers, “Whenever we had a 1991 break, he would go, ‘Darlene! Do you know this one?’ He’d go get his guitar, and I’d say, ‘Yeah. Come on, let’s sing it,’ and we’d go off in the corner to sing it.” “Power of Love (Love Power),” Luther Vandross Luther Vandross was the Rolling Stone proclaimed Darlene Love in relative anonymity in the recording last person Love ever Darlene Love “one of the greatest singers of all time,” studio backing up others—and in the sang background for and, With the Stanford while the New York Times declared that process becoming the most successful 2013 according to her, was the only Twenty Feet from Stardom Symphony Orchestra her “thunderbolt voice is as embedded unknown singer in rock-and-roll history. person that was serious about Love’s story as a backup singer was Fri, Feb 9 in the history of rock and roll as Eric Now she’s finally having her moment. background singers. “Luther at the center of the Oscar-winning 7:30 PM Clapton’s guitar or Bob Dylan’s lyrics.” Here’s a look back at some milestones. was the greatest,” she says, documentary 20 Feet from Stardom. Bing Concert Hall But if Love’s name doesn’t quite have the “because he started out in And she stole the show at the 2014 familiar ring of Clapton’s and Dylan’s, it’s the business as a background Academy Awards, receiving a standing because she worked for so many years singer, so his sessions were ovation after showing off her pipes. always so much fun.”

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“In a profound sense, it was this desire for connection that drove Bernstein’s creative life as an educator, conductor, composer, and collaborator”

Bernstein’s West Side Story: depiction of contemporary they all had considerable of City Ballet dancers. that drove Bernstein’s New York City gang life, that firsthand experience with Perhaps the biggest creative life as an educator, Reality, Identity, was never what the show prejudice and intolerance as difference between Romeo conductor, composer, and was really about. The music Jewish gay men with leftist and Juliet and West Side Story collaborator, and it was actual teenagers danced to politics in the conservative is the fact that Maria does at the center of his entire in gyms was rock and roll, 1950s of Eisenhower, the not die in the end. In the personality. Perhaps it and the Imagination not Bernstein’s sophisticated Cold War, and Joseph show’s powerful final scene, was only in his art that reworking of Latin American McCarthy’s fanatical anti- Maria’s grief over Tony’s this kind of connection By Rob Kapilow dance music, and their Communist crusade. death moves the two gangs could be perfectly realized, dance moves bore no real to end their feud, unite, and and perhaps it is only in resemblance to the ones In the libretto for “Tonight,” lift Tony’s body together. the artificial world of a Jerome Robbins invented. Laurents writes an The tragedy has allowed the musical that prejudice In 1955, West Side Story’s that poor and I’ve never life in Shakespeare’s London. to be religious rather than The street slang that the extraordinarily poetic community to reach a new can be overcome. But a book writer, Arthur even known a Puerto Rican.” Like the Mississippi River ethnic—closer to the actual Sharks and the Jets used stage direction—“And now space, a new communion. It belief in its possibility—a Laurents, approached for Kern, Catfish Row for experiences of anti-Semitism in the musical—“Cut the the buildings, the world is a place Bernstein strove to belief that there is a an almost completely For Sondheim, never having Gershwin, the Wild West shared by Robbins, Laurents, frabbajabba” and “Chung! fade away, leaving them reach over and over again “somewhere” where this unknown 26-year-old been poor or Puerto Rican for Copland, and Annie and Bernstein. But that story Chung!”—was actually suspended in space.” in the ending of theater kind of connection can Stephen Sondheim and instinctively made him Oakley for Berlin, the New had already been done in invented by Laurents so that Though West Side Story pieces like Candide (“Make happen—is, in its own told him that Leonard feel like he would be a York City street gangs the play Abie’s Irish Rose, it would not be mistaken may have been inspired Our Garden Grow”) and way, a happy ending. Bernstein was looking bad match for the show, depicted in West Side and when Bernstein and for reality. by New York City gang life, Mass (“Pax: Communion”), for someone to co-write though it didn’t seem to Story ultimately existed Laurents happened to read this stage direction offers as well as in his famous lyrics for an updated bother anyone else on the nowhere but in Bernstein’s, an article in the Los Angeles On the first page of his the real location where performance of Beethoven’s musical version of Romeo creative team. It never Robbins’, Sondheim’s, and Times about rioting Chicano copy of Romeo and Juliet, the story takes place: an Ninth Symphony when the and Juliet. However, when struck them as odd that four Laurents’ imaginations. gangs in Los Angeles, the Bernstein had scrawled, “An imaginary world where the Berlin Wall fell in 1989. He Laurents explained that upper-class, white, Jewish, idea of turning an outdated out and out plea for racial buildings and the city have wanted to lead us to a place they intended to reset gay men were writing a The original idea had been Jewish-Catholic East Side tolerance. Prejudice will faded away, where Tony and where “Alle Menschen werden Shakespeare’s play in musical about poor, tough, to set the story on the East Story into a ripped-from- be the theme of the new Maria could use a kind of Brüder”—where all men shall the present-day world of inner-city Puerto Rican Side of New York, not the the-headlines West Side Story work,” and that was what stylized language Sondheim be brothers, where difference Rob Kapilow’s Puerto Rican street gangs gangs, though in many West Side, with a Jewish transformed the project. the show was ultimately found unbelievable, where and prejudice are overcome, What Makes It Great? in New York City, Sondheim respects, the reality of New Maria and an Italian- about. Though neither Bernstein’s operatic impulses where we are all connected. Songs of Leonard Bernstein instantly said that he was York City gang life was as Catholic Tony at the time Though a great deal of Laurents, Robbins, nor could flourish, and where Wed, Feb 7, 7:30 PM the wrong man for the job remote from their personal of Easter and Passover. critical attention has been Bernstein had any firsthand Robbins’ gangs could In a profound sense, it was Bing Concert Hall because “I’ve never been experience as Elizabethan The conflict was intended paid to West Side Story’s experience with gang life, move with the precision this desire for connection

22 23 MAIN FEATURE STANFORD LIVE MAGAZINE JAN / FEB 2018

“increasing interest in America in cultural Copland’s Fanfare, only a tiny minority matters” would “influence...peace and of the onlookers were likely aware, as understanding throughout the world.” Bernstein certainly was, that only six The president then dug up a shovelful of years before, in 1953, Eisenhower had earth to inaugurate construction of the banned a performance of Copland’s center’s first building, Philharmonic Hall, Lincoln Portrait at his inauguration and turned to shake Bernstein’s hand. because Copland was a supporter of left-wing causes. Did the crowd know This handshake was a fitting way to that President Truman, in February celebrate the partnership between 1950, had banned Bernstein’s music American political aspiration and high from overseas State Department culture. For some years, Bernstein had libraries and functions? Or that in been a cultural ambassador for the 1953, Eisenhower’s State Department United States. He had toured Latin had revoked Bernstein’s passport on America with the New York Philharmonic the grounds that the maestro was a in 1958 and, at the behest of the State security risk, returning it only after Department, was about to go on tour to Bernstein, his conducting career on the the Soviet Union, a trip that had great verge of wreckage, agreed to sign an significance in the administration’s affidavit confessing to political sins? quest for a thaw in the otherwise glacial These darker events were certainly Cold War. If anyone fit E. B. White’s in Bernstein’s mind, and perhaps idea of the immigrant to the city who Eisenhower’s, as the two Olympians greatly enhances its life and culture, it shook hands in joint celebration. was Leonard Bernstein. Born in Boston in 1918 and arriving in New York in Such were the paradoxes and ironies 1941, soon to become a champion of of that day—the fanfare, waving flags, American music, he was the composer and hearty handshakes masking a 1 of the great New York ballet Fancy Free closely guarded tale of presidentially and the New York musicals On the Town authorized censorship, intimidation, (1944), Wonderful Town (1953), and West and humiliation. This tale, and other Side Story (composed in 1957 and just aspects of Bernstein’s political life—his Leonard Bernstein: coming to the end of its great Broadway blacklisting by CBS in 1950, his later A destination that is defined run at the time of the Lincoln Center removal from the blacklist, and his groundbreaking), and he had been return to the podium of the New York by you & your passions in life. A Political Life the principal conductor of the New Philharmonic as principal conductor Imagine twenty-six enchanted York Philharmonic. Now, on this day and then music director—is the one I acres of organic gardens, By Barry Seldes of celebration, the already formidable tell in my book Leonard Bernstein: The orchards & vineyards for your Bernstein, the most magisterial of New Political Life of an American Musician. next Carmel Valley escape. York’s creative and performing artists, On the morning of May 14, 1959, an theater—would be proof visible of leading the New York Philharmonic was receiving the president’s personal Those who have written about excited crowd of thousands gathered New York’s cultural ascendancy. In in a performance of Aaron Copland’s recognition as the sovereign of this Bernstein have tended to avoid at Broadway and West 64th Street to the words of urban-planning czar Fanfare for the Common Man. Bernstein new center for the performing arts. thematic discussion of his political witness ground-breaking ceremonies Robert Moses, Lincoln Center would then introduced the guest of honor, life. This gap is unfortunate, because for the Lincoln Center for the Performing make the city the “World Center of the President Eisenhower, who thanked Yet this seemingly unambiguously Bernstein was highly political. He was CULTIVATED IN Arts. The day was a glorious one for Performing Arts,” a complement to its the artists and praised the many celebratory day had interesting inevitably responsive to developments CARMEL VALLEY New Yorkers, for their new complex— place as “World Political Capital.” people within government, labor, ironies, known only by Bernstein and in the political and moral climate; his concentrating in one place the city’s business, and charitable foundations a few others. For example, as the choice of texts to set to music often BernardusLodge.com world-class dance, orchestral, and Festivities began at 11 a.m. with master who had worked to make Lincoln maestro gave the downbeat to the revealed his political concerns. To operatic ensembles and a new repertory of ceremonies Leonard Bernstein Center possible. He predicted that the philharmonic’s brass section to begin ignore the impact of political forces 831-658-3400

24 25 MAIN FEATURE STANFORD LIVE MAGAZINE JAN / FEB 2018

upon Bernstein is to miss out on much the other sources they illuminate Bernstein never deserted his of what enlivened and motivated him. reveals Bernstein as a politically progressivism. In the 1940s, he had engaged man. One comes to see continued to hold to the idea that an Deep study of the archival that his political commitments and enduring Popular Front might realize documents—from the Leonard activities were highly important to in peacetime the wartime utopian Bernstein Collection at the Library him, that he was victimized because goals of a united humankind. Like so of Congress to the extensive dossier of them, and that they often played a many other progressives, Bernstein the FBI kept on his activities—and significant role in his artistic career. learned the price of not toeing the line set by the orthodox Cold Warriors. He was blacklisted, but he was lucky: the liberal humanists who operated the machinery of the cultural Cold War got him off the blacklist without most of the public knowing he had been on it, years before the blacklist era came to an end and, in fact, while others were still being victimized. He also knew how to take advantage of the American cultural media’s need to create and fetishize stars for commodification’s Pinewood is an independent, coeducational, non-profit, sake. He was everyone’s “Lenny.” K–12 college-prep school. Students benefit fromsmall class size, challenging academic curricula, But Bernstein brooded about those “dark times” when, as Hannah Arendt wrote, following Bertolt Brecht’s through poem “To Those Born Later,” malign K 12 forces operate and the citizen must Passionate Expertise and a wide choice of enrichment activities. make choices of relatively great We offer an environment where each student is consequence. To disengage from High Academic Expectations a respected and vital member of our politics and take flight into other Unlimited Exploration educational community. We invite you to explore realms, such as the aesthetic or the the opportunity for your student to become a part of the scientific domains, would be craven; Grounded Moral Examples to confront these political forces alone Pinewood tradition of academic excellence. For more was quixotic or even suicidal. Lone Confident Self-Expression information, please visit our website. individuals might manage to remain www.pinewood.edu ethically connected to their fellows by remaining mindful of the evil and malignant power. They do not forget the dark times, and one such individual was Leonard Bernstein. Once off the blacklist and safely established as music director of the New York Philharmonic, he could have easily taken an inner migration into sheer aestheticism and into purely private issues of the inner life or the family. Instead, he retained and acted upon his progressive impulses. He appeared in political rallies and meetings from

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ad proofs.indd 1 9/12/13 2:11 PM MAIN FEATURE STANFORD LIVE MAGAZINE JAN / FEB 2018 Proud to 3 Business, 1. He composed a lot of music that has Support Leonard Bernstein entered the concert-hall canon and conducting. musical theater and reaches a wide meet box the Arts at and receptive audience. But by his own 2. Stanford Bernstein at work assessment, Bernstein never found the in 1955. text for which to compose music that office. would break the hearts of his fellow 3. Americans and let them gain a glimpse President Dwight D. Encore connects into their history and their potential for Personal attention Eisenhower breaking your business thoughtful litigation ground for Lincoln social renewal. That text remained, as Center in 1959. we know, elusive. But Bernstein did find to arts patrons final resolution one means for prophetic expression. wherever they are. Our goal is to preserve our LAW FAMILY His predecessor Mahler had stretched client’s dignity and humanity. music to its heartbreaking incantation, and Bernstein had found in Mahler’s music the long narrative of catastrophe and terror that had engulfed European FA M I LYLAW G R OUP, P. C . civilization in the first half of the 20th century and seemed to go on endlessly. 575 Market Street, Suite 4000 To learn what Encore can San Francisco, CA 94105 Mahler spoke for his generation do for your business, visit 415.834.1120 about the loss of belief in enlightened encoremediagroup.com. www.sflg.com and progressive values. And so in conducting Mahler, perhaps more than any other composer, Leonard Bernstein the ecstatic magus was able to communicate to orchestra and audience his own tragic vision. the 1960s until his death in 1990; he well that he would invite FBI inquiry. one in his Norton Lectures at Harvard was a member of the Committee And true to form, J. Edgar Hoover, in 1973. But he did attempt to express Excerpted from Leonard Bernstein: for a Sane Nuclear Policy (SANE) ever frustrated in finding evidence his philosophic outlook through his The Political Life of an American and participated in the civil rights to arrest Bernstein for denying music, and in this form, he did think Musician with permission from the and anti-Vietnam War movements; Communist Party membership in his profoundly. In his attempt, mistaken University of California Press. and he pointedly refused to accept 1954 affidavit, tried to destroy him in as it was, to ground tonality within George Bush’s invitation to the White the early 1970s. Bernstein survived, the innate capacities of the human House because of cuts in federal but the “dark times” prevailed, and mind and thereby provide evidence of funding for the arts. He intervened, over the next nearly 20 years until his its universality, he sought a common Rob Kapilow’s in short, to defend the progressive death in 1990, he continually sought aesthetic ground on which humanity What Makes It Great? heritage from its detractors and to to express in musical form the deep might find common incantation Songs of Leonard Bernstein shore up liberals demoralized by the contradictions in American culture. and expression. He had formed this Wed, Feb 7, 7:30 PM conservative onslaught. Some of his universalistic outlook at the family Bing Concert Hall celebrity service work was of relatively Bernstein’s optimism was that of an dinner table in the Hebrew prophetic Bill Charlap Trio symbolic significance—for example, extrovert, but in his later decades, declarative voice of his father. He may Sat, Feb 10, 7:30 PM his appearance in Montgomery to this upbeat aspect of his personality have upset his father by not taking on Bing Concert Hall meet the marchers who had come cohabited with the darker, prophetic a rabbinical voice in the synagogue, from Selma—next to the heroic vision of a Jeremiah contemplating but his concert halls were in a sense The American Sound activities of others. But the authentic America gone off track, if not, at times, gathering points for congregations, Curtis on Tour Leonard Bernstein, not the celebrity, gone mad. He was not a prophet- assemblies wherein his voice might Sunday, Mar 4, 4:00 PM quietly sought out Daniel Berrigan in philosopher with a systematic body light in his audience a glimmer of Bing Concert Hall Danbury Penitentiary, knowing full of thought, though he tried to create that lost tribe, united humanity.

28 FEATURETTE STANFORD LIVE MAGAZINE JAN / FEB 2018

VIRGIL THOMSON As a composer and a critic throughout a life that nearly spanned the 20th century, Virgil Thomson helped American music find its own voice and its own audience. His music has often, 1 and correctly, been called “witty,” though he once said, “I don’t think music’s ever very funny.” It has also Composing the correctly been called “cosmopolitan,” but it is rooted in and draws its strength from the music he heard in American Sound childhood: hymns that he used to play as an organist in the Southern Baptist church his family attended, popular songs of the 19th century, and the How Musicians Served as Architects of jazz and ragtime that were intensively Modern American Identity cultivated in Kansas City, Missouri, where he was born in 1896. —Joseph McLellan, the Washington Post, 1989 Inspired by Leonard Bernstein’s quest the opening section of Billy the Kid; to capture some national essence the texture and soul of the heartland CHARLES IVES 1. through his musical compositions, seemed implicit in their sparse, open- His music has been judged to be ahead WILLIAM GRANT STILL Aaron Copland. we wanted to call attention to some ended contours, their lonely but happy of its time and uniquely innovative, Add another member to the growing melodies, their tangy tonal harmonies, of his contemporaries engaged in the rebellious, and modernist. At the same company of American musical 2. project of defining a multifaceted and their climactic tableaux of time, Ives’ personal history, writings, embryonics…Mr. Still has a very Charles Ives. American sound in classical music. sounding brass and drums. At the and use of vernacular materials in his sensuous approach to music. His same time, the music matched the music—the sources and strategy of employment of his instruments is at 3. Florence Price. AARON COPLAND collectivist ethos of the New Deal and quotation and borrowing—reveal an once rich and nude and decided. The Second World War period—the spirit of Copland seized the nation’s attention allegiance to a past remembered, a upper ranges of his high soprano have 4. by forging a universally recognizable “common discipline,” as Roosevelt put premodern, 19th-century America. an original penetrating color. And the Carlos Chávez. national sound. Works such as Billy it in his first inaugural address. Cultural nostalgia and aesthetic use of jazz motives…is more genuinely the Kid, Rodeo, Lincoln Portrait, Fanfare —Alex Ross, the New Yorker, 2007 innovation seem inextricably but musical than any to which they have for the Common Man, and Appalachian counterintuitively linked in Ives’ music. been put, by Milhaud, Gershwin, or Spring became synonymous with —Leon Botstein, Charles Ives and anyone else. the “open prairie,” as Copland titled His World, 1996 —Paul Rosenfeld, Musical Chronicle, 1925 2 30 31 FEATURETTE music of these composers, theAfrican symphonic forms. Intheorchestral and characteristic dancemusicin folk idioms,thatis,spirituals, blues, goal theincorporation of Negro Dawson, whohadastheirprimary Still, Florence Price, andWilliam L. decisive impactonWilliam Grant the blackcultural heritage hada The affirmation of thevalues of into self-consciously racial idioms. 1930s adapted oldartistic forms composers inthe1920s andearly against whichAfrican American Nationalism was thebackdrop FLORENCE PRICE performed atLincolnCenter, 1994 Price’s Symphony No. 1inEMinor, —Rae Linda Brown, program note for a uniqueAmericanandartistic self. received musical forms, yet articulate American composer couldtransform demonstrates thatanAfrican of hercultural heritage. Hermusic the periodbutalso theinfluence the romantic nationalist styleof are rooted…Price’s musicreflects to thefolk tradition in whichthey orchestral musicisinherently bound simple musicalstructure of their integral to thestyle. Thedeceptively American nationalist elementsare STANFORD LIVE MAGAZINE 2018 FEB / JAN 32

4 Incident at Wounded Knee,1999 —Louis Ballard, program note for better future life. their regeneration andhopesfor a to express thesufferings of my people, good company whenItook upmy pen black slave songs. SoIfelt thatIwas in music builtuponIndianand should have aform of nationalistic Dvořák, in1893, predicted thatAmerica cultural attack anddomination. of theirpeopleatatime of foreign and theirmusicsustained thespirit cause of oppressed people. Composers of composers whochampionedthe Music history isreplete with examples LOUIS BALLARD —Aaron Copland, theNewRepublic, 1928 World with its own new music. of thefirstauthentic signsof aNew more thanareflection of Europe…one about whomwe cansay thatheis is oneof thefew Americanmusicians without shadows orsoftness…Chávez is] healthy, clear, andcleansounding for more thanahundred years…[it ideals whichtyrannized over music overthrow of 19th-centuryGermanic [His music]exemplifies thecomplete amalgamation into anartform… solved theproblem of its complete folk material hasmore successfully No other composer whohasused CARLOS CHÁVEZ Bing Concert Hall Sun, Mar4, 4:00PM Curtis onTour The AmericanSound Bing Concert HallStudio Mon, Feb 26, 6:00PM With Alex Ross The Search for American Sound the

Behind the Scenes

JAN / FEB 2018 1 Genre Curating: Hip-hop Radicals What You Give” by theNew Nostalgia Song: “You Get Lollapalooza Paul McCartney at Life-Changing Performance: Senior/Political Science Class Year/Study: Chicago, IL Hometown: JOSE SERRANO curators. Meet three of ourstudent every step of theprocess! producers are involved in (Feb. 23).Andourstudent (Jan. 19)andKweku Collins kicks off with Monte Booker student body. Thisnew series speak to thediverse Stanford young artists whowould scout andbookpromising lead studentproducers to invited themto assignsix creative reins to SCNand We’ve handedover the Stanford Concert Network. performances curated by the will behometo aseries of Bing Concert HallStudio arts. Starting thiswinter, the music andtheperforming tomorrow’s leadersinlive Live aproving ground for working onmakingStanford the lastyear, we’ve been brains, andvision.Over hotbed of emerging talent, Stanford University isa EXECUTIVE DIRECTOR CHRIS LORWAY

33 Genre Curating: Casual funk Heart Roads” by theHeadand Nostalgia Song: “Rivers and Grimes atOutsideLands Life-Changing Performance: & Sociology Sophomore/Data Science Class Year/Study: Sonoma, CA Hometown: JENNY NOVA 2 2 1

3 KELLY BLAKE 3 Alternative/indie rock Genre Curating: “Basket Case” by Green Day Nostalgia Song: John Mayer Life-Changing Performance: Science &Engineering Sophomore/Management Class Year/Study: Manhattan Beach,CA Hometown:

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JAN / FEB 2018 programs thatcouldonly We’ve experienced unique Crow, and PhilipGlass. Wynton Marsalis, Sheryl Yo-Yo Ma,Audra McDonald, by musicallegendssuchas artistry, with performances experience astonishing Bing hasbeenaplaceto over 275,000 tickets! 500 events, andwe’ve issued five years, Binghashosted over exciting numbers. Over thelast time to thinkaboutsome other blow out ourfive a candles,it’s Concert Hall’s opening. Aswe fifth anniversary of Bing January 11,2018, marksthe 1 Bing’s Anniversary Fifth 34 Cumming even celebrated set, Tony-winning actor Alan fun! After astellar cabaret beenaplacetoAnd it’s have created intheBingStudio. the new cabaret spacewe’ve Woodstock onthelawnto summer’s minire-creation of when it opened, from last we couldn’t have imagined Bing hasrevealed possibilities of Istanbul’s HagiaSophia. digitally simulated acoustics Byzantine chantinthe eyes to experience ancient premieres orclosingour looking forward with world take placeinBing,whether

amazing artsexperiences. Bing Concert Hallahomefor Annual Fund continue to make whose ongoinggifts to our all ourStanford Live donors, programming atBing;andto have supported accessand whose endowment gifts Bing ExperienceFund donors, possible; to ourgenerous made thebuildingof the hall page 37), whose initial gifts Bing Concert Halldonors(on deeply grateful to theinaugural our generous donors. We are celebrate any of thiswithout We wouldn’t beableto dance partyinthelobby. his own birthdayby DJing a 2 concerts inthree days. weekend includedseven Fast Machine.Theinaugural John Adams’ ShortRideina Francisco Symphony in before leadingtheSan the opening-nightaudience Tilson Thomasgushedto “Isn’t thisexciting ?” Michael 1 OPENING NIGHT celebrations. composer’s 80th-birthday études, kickingoff theiconic Philip Glass’ complete piano 2016 with aperformance of fifth season inSeptember Stanford Live launchedits 2 PHILIP GLASS

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Maurice andHelenWerdegar The Frank Wells Family Turner Corporation The Fay S. andAda S. Tom Family Bonnie andMartyTenenbaum Elayne andThomasTechentin, Fong Liu Fred andStephanie Harman Friends of MusicatStanford The Adolph BallerPerformance Fund Apogee Enterprises, Inc. Anonymous for BingConcert Hall. programming andmusicalinstruments donors, whoprovide majorsupportfor With appreciation for thefollowing Akiko Yamazaki andJerryYang Madeline andIsaac Stein Regina and John Scully Jennifer JongSandling and Wendy MungerandLeonard Gumport Linda andTony Meier Deedee andBurt McMurtry Susan andCraig McCaw Leslie andGeorge Hume Andrea andJohnHennessy Frances andTheodore Geballe Jill andJohnFreidenrich Elizabeth andBruceDunlevie Roberta andSteve Denning Anne T. andRobert M. Bass John ArrillagaFamily Cynthia Fry GunnandJohnA. Peter andHelenBing Concert HallDonors Bing Matthew Tiews Stephen Sano Maude Brezinski Ex officio: David Wollenberg Doug Tanner Srinija Srinivasan Trine Sorensen Linda Meier Betsy Matteson Bren Leisure Rick Holmstrom Fred Harman Peter Bing Jeanne Aufmuth George H. Hume, Cochair Leslie P. Hume, Cochair direction of theorganization. Live andto provide adviceonthestrategic Council is to supportthemissionof Stanford The purpose of theStanford Live Advisory 2017–18 Advisory Council FUND DONORS BING EXPERIENCE BUILDING DONORS in memoryof BeatriceGriffin for BingConcert Hall M. JamesSandling

Things to Know

Wed MARCH APR 20 APRIL 11 The Interlude Café in Bing Change your plans? Large-print programs The Music of Duke Ellington Concert Hall’s lobby serves Exchange your tickets or make are available with 72 Thu Rob Kapilow’s What Makes It guests before performances a tax-deductible donation at hours’ notice given to MARCH 1 Great? and during intermission. For live.stanford.edu/changes. the administrative office. Emanuel Ax, Leonidas complete hours, menus, and Please send all requests to Kavakos, and Yo-Yo Ma Sat–Sun preordering options, visit Wheelchair seating, with up [email protected]. APRIL 14–15 live.stanford.edu/dining. to three companion seats per MAR / APR 2018 Calendar Fri The Triplets of Belleville wheelchair space, is available Volunteer usher positions MARCH 2 Latecomers arriving after for all performances. Please are available throughout the k.d. lang Wed Visit Plan Your curtain time will be seated indicate your needs when year. For more information, redux 25th Ingénue APRIL 18 at a suitable interval in the purchasing tickets so that an please send an email to Anniversary Tour John Waters in Conversation program or at intermission. appropriate location can be [email protected]. with Noah Cowan (SFFILM) We recommend that you reserved for you. Sat Sat arrive at least 30 minutes MARCH 3 MARCH 17 Thu prior to performances. Sign language interpreting SsingSsing Ute Lemper and the APRIL 19 is available with five business Vogler String Quartet Songs of Freedom: Mitchell, Assisted-listening devices days’ notice given to the Sun Paris Days, Berlin Nights Lincoln, and Simone are available. Please visit administrative office—call MARCH 4 Patron Services prior to the 650.723.2551 or email us at The American Sound Sun Fri show for more information. [email protected]. Curtis on Tour MARCH 18 APRIL 20 Zurich Chamber Orchestra Bing Fling Fri Performance Venue Information Boston Pops Esplanade MARCH 9

Orchestra N APRIL 101 Corelli the Godfather 1 Bing Concert Hall & Bing TO Parking for Bing Concert

Philharmonia Baroque UNIVERSITY AVE Wed Concert Hall Ticket Office Hall and Frost Amphitheater ARB O Orchestra RETUM RD Fri APRIL 25 2 Frost Amphitheater EL CAMINO REAL / 82 can be found in the Galvez S 101 APRIL 6 3 Memorial Church TO EMBARCADERO RD Lot and on Lasuen Street, Beethoven Unleashed CAMPUS DRIVE WEST Sat–Sun Kronos Quartet featuring 4 Memorial Auditorium Philharmonia Baroque 6 P VEZ ST Museum Way, Roth Way, and P GAL GA Cantor Arts LVEZ MARCH 10–11 P LOT Tanya Tagaq 5 Stanford Ticket Office Center ALM DR Orchestra and Chorale MUSEUM W P the Oval. AY P Stanford Symphony 6 Anderson Collection at A DR P T

1 CAMPUS DRIVE EAST OMI Orchestra with John Mauceri, L Sat Stanford University N P Sun ROTH W Parking for Memorial Church AY LASUEN ST conductor, and Sandy APRIL 7 P 2 APRIL 29 Littlefield F can be found along the Oval Center Alumni Center Cameron, S THE violin P Public Parking TOC O Manila Disco Fever K FARM RD P VAL MEMORIAL WAY at the end of Palm Drive, on Sundays with the St. Lawrence P

--- Walking Path GALVEZ ST St. Lawrence String Quartet P Roth Way, on Museum Way, 4 Fri–Sat Sun F Alumni Café, Arrillaga and on Lasuen Street.

SAND HILL RD Hoover P MARCH 16–17 APRIL 8 Alumni Center MAIN QU Tower SERRA ST Sun AD P Machine de Cirque 3 Toumani and Sidiki Diabaté APRIL 29 Directions

Tressider Uriel Herman Quartet SANTA CRUZ Union 5 For driving directions or

ALPINE RD

0 N JUNIPERO SERRA BLVD 8 public transportation 2

TO 280 information, please consult our S website: live.stanford.edu. For comprehensive campus parking Parking is FREE on the Stanford campus in metered and information and maps, visit lettered parking zones on weekdays after 4:00 pm and on http://visit.stanford.edu/plan/ BUY TICKETS TODAY! Presented by Stanford Live weekends at all times. Disabled parking, loading, and service- parking.html. LIVE.STANFORD.EDU OR 650.724.BING (2464) Stanford University, 365 Lasuen Street, vehicle restrictions are enforced at all times. Visit the Stanford Live website for updates. Second Floor Littlefield Center, MC 2250 All programs and prices are subject to change. Stanford, CA 94305

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