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Home , Einstein on the Beach, Glassworks (composition), Godfrey Reggio, Hamburger Hill, Hydrogen Jukebox, Koyaanisqatsi

March 2000

Brooklyn Academy of Music 2000 Spring Season BAMcinematek Philharmonic 651 ARTS

Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on

Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

in association with Pomegranate Arts Inc.

presents Philip on Film

Running times: BAM Howard Gi lman House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will /Live! March 22, 2000, at 7:30pm run for approximately /Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis­ March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi­ Original Music by mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the : Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi­ Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman

Production Management Pomegranate Arts, Inc.

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For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media

Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards. Recordings of Philip on Film scores are available on . For more information: www.philipglass.com&wwwkoyaanisqatsi.com.

For Pomegranate Director Linda Greenberg-Brumbach Arts , Inc. Associate Director Alisa E. Regas New York, NY Business Manager Kaleb Kilkenny Company Manager Jim Woodard

Anima Mundi & Original Music by Philip Glass Music for Film Featuring the U.S. premiere of the live concert of Anima Mundi Director Editor Miroslaw Janek Sound Design Kurt Munkacsi Conductor Michael Riesman Film Producers IRE Production Management Pomegranate Arts, Inc. Philip Glass and Godfrey Reggio wish to acknowledge the vision and su{f port of the Bulgari Family for the production of Anima Mundi.

The program will be selected from the following film scores: Mishima (, 1984); (John Irwin, 1987); The Thin Blue Une (, 1988); The Secret Agent (, 1996); (, 1997); (, 1998); and Evidence (Godfrey Reggio, 1995). Following a 20-minute interm ission will be the U.S. concert premiere of Anima Mundi. Godfrey Reggio's film short is a poetic combination of music and images designed to celebrate biological diversity. The title refers to an ancient mythological concept of a controlling principle structuring the laws of life on earth and the interrelation­ ships of nature's forms. Natural order and beauty are based on the differ­ ences between, and the endless variety of, species, elements, beings, and systems, which together form a balanced whole. The film was created from existing naturalist film footage interwoven with original images, and Phil ip Glass' score is based on traditional ethnic and music. Reggio was commissioned by Bulgari to create Anima Mundi as a special project for the World Wide Fund for Nature Intemational Campaign for Biological Diversity.

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Koyaa nisqatsi/Live! Original Music by Philip Glass Director Godfrey Reggio Photography Ron Frickle Sound Design Kurt Munkacsi Editors Alton Walpole & Performed by Philip Glass & the Philip Glass Ensemble Conductor Michael Riesman Film Producers IRE Production Management Pomegranate Arts, Inc.

The bass voice heard in this performance is provided by Albert de Ruiter, and has been electronically replicated.

Ko-yaa-nis-qa-tsi (from the Hopi language) n. 1. Crazy Ufe. 2. Ufe in turmoil. 3. Ufe disintegrating. 4. Ufe out of balance. 5. A state of life that calls for another way of living. Koyaanisqatsi was conceived by Godfrey Reggio as a film integrating images, music, and ideas (not words) and is the first film of the Oatsi trilogy. It describes an apocalyptic vision of the collision of two differ­ ent worlds-urban life and technology versus the natural environment. Reggio spent seven years making the film, working with cinematographer Ron Fricke, who uses high-powered time-lapse photography to manipulate our perceptions of movement and time . Reggio spent two years working on the integration of music with Philip Glass. assisted in the film 's release, and, after its U.S. premiere at Radio City Music Hall in 1983, it won the Audience Award for Best Feature Film at Filmex, and Glass' score was voted Best Original Score by the Film Critics. Koyaanisqatsi has been presented at numerous festivals throughout the world , garnering Best Film at the Sao Paulo Film Festival , The Critics Award at the Lisbon Film Festival , and the City of Madrid Award at the Madrid Film Festival.

Powaqqatsi/Live! The Cannon Group Inc. A Francis Ford Coppola and Presentation Original Music by Philip Glass Director Godfrey Reggio Photography Graham Berry & Leon idas Zourdoumis Sound Design Kurt Munkacsi Editors Iris Cahn & Alton Walpole Performed by Philip Glass and the Philip Glass Ensemble Conductor Michael Riesman Film Executive Producers Menahem Golan & Yoram Globus Film Producers , Godfrey Reggio, & Lawrence Taub Production Management Pomegranate Arts, Inc.

Po-waq-qa-tsi (from the Hopi language; powaq "sorcerer" + qatsi "life") n. 1. An entity, a way of life, that consumes the life forces of other beings in order to further its own life. Powaqqatsi is the second part of the Reggio/Glass Oatsi trilogy. It examines life on our planet from a more global perspective than Koyaanisqatsi, focusing on the negative transformation of land-based , human­ scale societies into technologically driven, urban clones. Powaqqatsi is about

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contrasting ways of life, and how the lure of technology and mega-cities are affecting small-scale indigenous cultures. The overall focus is on the people of the Third World and how they express themselves through work and traditions. It shows how "progress" is luring more and more people into a pattem of meaningless consumption in place of real values. Pre-production began in September 1995, with a five-month expecition in search of locations. The pro­ ducers joumeyed to ten countries on five continents, including , Egypt, Kenya, Peru , India, Hong Kong, Israel, France, Nepal, and Berlin, selecting both urban and rural locations to support the film's theme. To research and develop the score, Glass himself went to Peru, Brazil, and West Africa. It is a departure from his earlier works in the use of many indigenous instruments and a Hispanic children's choir, as well as the integration of African, Latin, Indian, and Middle Eastem rhythms. More than 90 musicians and singers were involved in the recording of the score. The world premiere of Powaqqatsi/Uve! took place at Alice Tully Hall in July 1990 as part of Serious Fun! at Festival.

Dracula: The Music Music Philip Glass and Film Performed by Philip Glass and the Philip Glass Ensemble To the ' 1931 film classic Dracula Conductor Michael Riesman Sound Design Kurt Munkacsi Production Management Pomegranate Arts, Inc. Dracula: The Music and Film has been made possible by the generous support of Universal Family & Home Entertainment Productions. Film sound equipment donated by Dolby Laboratories, Inc.

Towering ominously among the shadows of the Carpathian Mountains, Dracula's castle strikes fear in the hearts of the Transylvanian villagers below. After a naive real estate agent succumbs to the will of the Count, the two head to London, where the vampire hopes to stroll among respectable society by day and search for potential victims by night. Definitively portrayed by the actor Bela Lugosi in Universal's classic 1931 film , directed by Tod Browning and produced by Browning and Carl Laemmle Jr., the Count Dracula the world has grown to love arose from the legends fused by Irish writer Bram Stoker in the pages of his Gothic horror novel Dracula : The Dread Lord of the Dead. Published in 1897 and hailed by critics as the last of the great gothic romances, Dracula caused a sensation among turn-of-the-century readers . Stoker, who never set foot in Transylvania , fused the legend of VI ad Dracula (a.k.a. VI ad Tepes or "Vlad the Impaler"), a 15th-century Romanian prince whose family crest of arms bore the Order of the Dragon ("Dracul" is the Romanian word not only for Dragon, but for the Devil) and who made a name for himself with the rather gruesome practice of impaling his enemies on stakes surrounding his castles, with the peasant myths and folk songs that spoke of the "etemal vampire" and devils that could take the form of bats and wolves. He also incorporated the Romanian religious superstition that anyone who was excommunicated from the Eastern Orthodox Church could not die and was destined to roam the world "undead" until a stake was driven through his heart.

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As new technology transforms art Unless you're one of those stubbom Luddites clinging to your typewriter, it's safe to say that and performance, BAM is in the you're having less personal contact-and, para­ eye of the digital storm. doxically, less privacy-than you had a couple of years ago. Think about how often you send an By Ann Lewinson e-mail rather than pick the phone; how often you shop online to avoid checkout lines or pushy salespeople. Now imagine-in this brave new world in which an Intemet service provider can buy 's largest media company-what attending BAM's Next Wave Festival might be like in a couple of years. In a world in which a box in our homes and offices is tearing us apart under the pretense of bringing us together, will we bother to leave the house at all? Or will we just log on to www.bam.org, type in a credit card number, and watch a virtual performance, inter­ acting with it with our mouse, making Eiko go this way and Komo go that? ~

John Jesrun's Black Ma ria Photo by Paula Court

22 Nothing, of course, can replace the thrill of live tal technology to rethink aspects of performance. performance, but no one really knows what the Their projects are strictly experimental and will impact of new technology will be on it. In order not necessarily wind up on stage; the goal is to to explore these possibilities, Brooklyn Academy push the limits of emerging technology, for artists of Music is hooking up with Lucent Technologies to learn from scientists and vice versa. "We didn't for its new Arts in Multimedia program. Three want this project to be about scientists doing the media artists, John Jesurun, Paul Kaiser, and 'work' and the artists providing the 'content,'" Ben Rubin, will collaborate with scientists from says Wayne Ashley, BAM 's Manager of New Bell Labs , Lucent's research division, using digi- Media . "We wanted to complicate that division of

John Jesrun's Deep Sleep Photo by M. Agus

24 labor, so that both potentially have equal say in computer interfaces are populating sporting how the project is being framed." events, music concerts, dance, and performance art, as well as the spaces of everyday life-malls, The project will be a learning experience for BAM health clubs, airports, restaurants, cars, ATM as well. "The Arts in Multimedia initiative con­ machines, and theme parks. In some instances, forms to our continuing endeavors to break live performance is becoming merely the 'raw boundaries," says Joseph V. Melillo, BAM 's exec­ material' for elaborate electronic manipulations utive producer. "This experiment in multimedia (like ball games), which take on more power and advances our investigation into a range of media immediacy than their live counterparts. These that we also are anticipating will somehow technologies make us think and feel differently impact the live performing arts programming in about space and time, about presence, and about the future. I expect to learn from the artists, and I the boundaries of our own bodies-all these know that education is going to enhance the things that we associate with live performance." artistic programming that I do for BAM." Although Kaiser is primarily concerned with "During the last 15 to 20 years, performances of space, Rubin with time, and Jesurun with pres­ all kinds have become increasingly mediatized," ence, all three are grappling with similar fears , explains Ashley. Electronic sound, video, and pri ma ri Iy the loss of persona I contact and privacy

The David Rousseve Web Documentary on www.bam.org continued on page 30

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Philip Glass (, keyboards) was bom in Kundun (L.A. Critics' Award, and Oscar, Golden in 1937 and discovered music in his Globe, and Grammy nominations for Best Score) father's radio repair shop. He began playing the and Peter Weir's The Truman Show (Golden violin at age six and became serious about music Globe Award for Best Score). Dracula: The Music upon taking up the at age eight. During his and Film was performed live by Glass and the second year in high school, he applied and was last fall as part of BAM's Next accepted to the . With his Wave Festival. parents' encouragement, he moved to Chicago and supported himself with part-time jobs wait­ Godfrey Reggio (director: Koyaanisqatsi, ing tables and loading airplanes, eventually earn­ Powaqqatsi, Anima MundO was born in New ing degrees in mathematics and . By Orleans and joined the Christian Brothers, a Roman the time he was 23, he had studied with Vincent Catholic pontifical order, when he was 14. At age Persichetti, , and William 25, after studying at their College of Santa Fe in Bergsma, and had rejected in favor of New Mexico, he took his vows and became a such maverick as , teacher, but was asked to leave the order in 1968 , , , and Virgil due to his political and social activities. In the early Thomson. Still searching for his own voice, he 70s, he became involved with Santa Fe's Institute moved to Paris for two years of intensive study of Regional Education, creating a mUlti-media cam­ under . There, he was hired by a paign to spotlight social issues. Geared mostly for filmmaker to transcribe the Indian music of Ravi television, the campaign was successful enough to Shankar into notation readable by French musi­ push him into filrn-again as a vehicle for raising Cians, and in the process discovered the tech­ public consciousness. He is recognized in the film niques of Indian music. Promptly renouncing his world for his , essays of visual images previous music, he began applying Eastern tech­ and sound which chronicle the destructive impact niques to his own work. By 1974 he had com­ of the modern world on the environment. In 1975 posed a large collection of new music, for the he began working on his first film, Koyaanisqatsi. theater company (of which he was Completed in 1982 and released in 1983, the film a co-founder), and for his own performing group, is an apocalyptic vision of the collision of two differ­ the Philip Glass Ensemble. This period culminat­ ent worlds----urban life and technology versus the ed in Music in 12 Parts, a four-hour summation environment. Powaqqatsi, released in 1987, con­ of his new music, and reached its apogee in veys a humanist philosophy of the earth, the 1976 with , a four and a encroachment of technology on nature and ancient half hour epic opera directed by , cultures, and the splendor that disappears as a performed at BAM, and a landmark in 20th-cen­ result. He is currently writing, co-producing and tury music-theater. Since Einstein he has com­ directing , the final film of the trilogy. In posed , film scores, symphonic works, 1991 he directed Anima Mundi, a film commis­ string quartets, and music for dance and theater sioned by Bulgari, the Italian jewelry company, for pieces. Current and recent projects include the World Wide Fund for Nature, which used the and White Raven, both col­ film for its Biological Diversity Program. In 1993 he laborations with Robert Wilson; Les Enfants was invited to develop a new school of exploration Terribles, a dance/theater work with choreograph­ and production in the arts, technology, and mass er Susan Marshall and the third and final piece in media founded by the Benetton company. Called his operatic Cocteau trilogy; Heroes , a Fabrica - Future, Presente, it opened in Treviso, new work based on the music of Italy, in May 1995. While serving as the initial and also used for a ballet choreo­ director of the school, he co-authored the seven­ graphed by ; Symphony No. 5 minute film Evidence, which provides another point (Chora/) , a large-scale work for chorus, voice, of view on the subtle but profound effects of mod­ and , commissioned by the Salzburg em living on children. He currently resides in New Festival and BAM and premiered in August Mexico and frequently lectures on philosophy, tech­ 1999; and film scores for Martin Scorsese's nology, and film. 45 \ALho'c::. \ALho

Kurt Munkacsi (sound design) has produced all Lisa Bielawa (voice, keyboards) has been the of Philip Glass' commercial recordings and vocalist in the Philip Glass Ensemble since 1992 designed the sophisticated sound systems used and has appeared on recordings of Einstein on for Einstein on the Beach, Koyaanisqatsi, La the Beach and Music in 12 Parts (Nonesuch). Belle et La Bete , and Monsters of Grace. He is She appeared in the role of Anna in Michael president of Euphorbia Productions, which has Gordon's opera Chaos, played in the world pre­ produced soundtracks for such noted directors as miere of Anthony Braxton's opera Shala Fears for Martin Scorsese, Peter Weir, Errol Morris, Paul the Poor, and has performed and recorded with Schrader, and Godfrey Reggio; operates Point Toby Twining Music, the Albany Symphony, and Music, a joint venture with Polygram the Virgin Consort. She is a member of the Intemational, and Looking Glass Studios, a state­ Hildegurls, a collaborative team of four women of-the-art, 48-track digital recording studio in composer/performers whose Electric Ordo ; and produces CDs for such com­ Virtu tum , based on a chant opera by Hildegard panies as Sony Classical, Nonesuch Records, of Bingen, appeared at the 1998 Lincoln Center Elektra Entertainment, Virgin Records, Island Festival. Ms. Bielawa received her bachelor of Records, and A&M Records. The score he pro­ arts degree from Yale University in 1990, where duced for Scorsese's Kundun received Oscar and she studied composition, voice, and literary theory. Golden Globe nominations for Best Original Score As a composer, she has received numerous fel­ in 1998, and won the L.A. Film Critics' Award lowships and awards, including those from for Best Score. For a complete discography visit NYFA, ASCAP, the Omaha Symphony, and the www.allmusic.com/amg/musicroot.html. Fondation Royaumont in France. She is a co­ producer and artistic director of the Music at the Michael Riesman (music director) is a conductor, Anthology concert series in New York. composer, and keyboardist and has been a member of the Philip Glass Ensemble since 1974. He has Dan Dryden (live sound mix) has been a mem­ conducted many Glass works, including Einstein on ber of the Philip Glass Ensemble since 1983. He the Beach , , , Songs has worked on stage on The Photographer, from Uquid Days, Dance Pieces , Music in 12 Descent into the Maelstrom , Einstein on the Parts, Passages , Koyaanisqatsi, Mishima, Beach, 1000 Airplanes on the Roof, Powaqqatsi, The Thin Blue Une, Anima Mundi, A Koyaanisqatsi/Uve!, La Belle et La Bete, Les Brief History of Time , Candyman, and Kundun. He Enfants Terribles, and , and in has conducted and performed on albums by Paul the studio on The Photographer, , Simon (Hearts and Bones) , (Patty and Mishima. He has also worked with Laurie Hearst), (Platinum), Ray Manzarek Anderson, , and the Raybeats . As (), David Bowie (Black Tie/White curator, he oversees the collection of Emery Noise), and Uesus' Blood Never Blagdon , the late visionary artist who created his Failed Me Yet). He released an album, Formal Healing Machines in Nebraska from 1954-86. Abandon (Rizzoli), which originated from a com­ mission by choreographer , and has Jon Gibson (woodwinds) is a composer, multi­ collaborated with Robert Wilson on Edison (New wind instrumentalist, and visual artist, and has York, Paris, and Milan). His film scores include performed with the Philip Glass Ensemble since Enormous Changes at the Last Minute, its inception. His music has recently been per­ Pleasantville, and Christian Blackwood's Signed: formed at the Painted Bride in Philadelphia (with Uno Brocka. Mr. Riesman studied at Mannes dancer Nancy Topt); at the Music at the College of Music and Harvard University, where he Anthology series in New York; with David received a doctoral degree, and has taught at Behrman and "Blue" Gene Tyranny at the Harvard and SUNY/Purchase. He was composer­ Kitchen (NYC); in a work for Nina Winthrop and in-residence at the Marlboro and at Dancers (Stalling into Elation); in Sicily with the Tanglewood Festival, where he has conducted Philip Glass (which included collaborative music performances of his own works. for the 1916 film Cenere); at New York's Merkin 46 \ALho', \ALho

Hall with composer/pianist ; with La Belle et la Bete, and . Philip Glass at the NYC ; Since 1984 she has performed new chamber to the silent movies of Ralph Steiner; and in com­ works by such composers as , missions for the Thomas Buckner. He Egberto Gismonte, Guy Klucevsek, and William has composed and performed music for the com­ Russell, and has recorded for Nonesuch and panies of choreographers , Mode Records, with the Philip Glass Ensemble, Lucinda Childs, Margaret Jenkins, Simone Forti, Essential Music, and the Vanguard Chamber Nancy Topf, and Elizabetta Vittoni. His music can Orchestra. Currently, she is co-producer of the be heard on the New Tone, Point Music, Lovely new rnusic series Music at the Anthology. Music, EarRational Records, and Einstein Records labels, and he appears on recordings by Andrew Sterman (flute, piccolo, ) Glass, Reich , Rzewski , Arthur Russell, Annea has been a mernber of the Philip Glass Ensernble Lockwood , Peter Zummo, and . He since 1991. In 1995 he gave the world premiere is a graduate of San Francisco State University, of a 30-minute piece by Philip Glass for unac­ where he studied composition with Wayne cornpanied saxophonist. He has also perforrned Peterson and Henry Onderdonk. or recorded with the , American Ballet , International Society for Richard E. Peck Jr. (tenor and soprano saxo­ Contemporary Music (featured soloist), American phone) came to New York City from Louisiana Cornposers Orchestra, and the New York Festival in 1971 to join the Philip Glass Ensemble. He of Song, as well as with Freddie Hubbard, Dizzy has performed in the premieres of Einstein on Gillespie, Buddy Rich , Louis Bellson, Toshiko the Beach, Dance Pieces, Descent into the Akiyoshi, Frank Sinatra, Tony Bennett, Sarah Maelstrom, 1000 Airplanes on the Roof, Vaughan, Joe Williams, Aretha Franklin, the Hydrogen Jukebox, Koyaanisqatsi, Powaqqatsi, Village Vanguard Jazz Orchestra , Rashied Ali, and La Belle et la Bete. As a composer, Mr. Fred Hersch , Pharaoh Sanders, Wallace Roney, Peck's activities have included scoring the Eye Teo Macero, and Dr. John. He corn poses rnusic and Ear Theater's production of Picasso's for his own chamber ensemble and the rnulti­ Desire Caught by the Tail , music for the dancer media ensemble Fish Love That. He has lectured Nancy Lewis, and a score for Susan Osberg's on performance, jazz, and new rnusic composi­ Sideshow. Mr. Peck has performed and record­ tion for woodwinds at the University of Miarni, ed with David "Fathead" Newman , Carla Bley, Oberlin Conservatory, and City University of New Mike Oldfield , and Paul Butterfield. Mr. Peck, a York Graduate School of Music. Mr. Sterman has painter-constructionist, recently had his work recorded for Sony Classical, CRI, Colurnbia , Vox, shown in Autoportraits Contemporains' Here's Elektra/Nonesuch, Koch, and Warner Brothers. Looking at Me at Musee elac Art Contemporain in Lyon, France. Frank Cassara (percussion) received bachelor's and master's degrees frorn the Manhattan School Eleanor Sandresky (keyboards, voice) is a com­ of Music and has performed around the world with poser, pianist, and synthesist. Her compositions the New Music Consort/PULSE, Newband/Harry range from solo works to evening-length collabo­ Partch Ensernble, Steve Reich and Musicians, and rations, such as her evening of works for solo the Philip Glass Ensemble, at festivals in Japan, and multimedia at the Southeastern Center Iceland , Taiwan, Mexico, Hong Kong, Germany, for Conternporary Art. Her involvement with France , England, and Italy. He is a rnernber of the dance has resulted in collaborative and improvi­ Hudson Valley Philharmonic and Riverside sational works presented at the Knitting Factory, Syrnphony, and is principal of the Connecticut the Kitchen, P.S. 122, Dia Arts Center, and the Grand Opera . He has appeared as soloist with the Mulberry St. Theater in New York. Since 1990, North/South Consonance and Inoue Charnber she has perforrned in the and Ensemble, and has performed with the Manhattan abroad with the Philip Glass Ensemble, in perfor­ Marimba Quartet, Talujon Percussion Quartet, SEM mances of Koyaanisqatsi/Uvef, Powaqqatsi/Uve', Ensemble, the NY Shakespeare Festival, the Erick 47 \/\/ho', \/\/ho

Hawkins Dance Company, and for the Broadway Peter Stewart (keyboards, voice) has toured shows The Sound of Music and The Uon King. He with the Philip Glass Ensemble in Einstein on the has lectured and conducted workshops for the Ju Beach, La Belle et La Bete , and Monsters of Percussion Group in Taiwan and is on the faculty Grace , and first worked with Robert Wilson in of University and the USDAN Center Gavin Bryars' . He has performed new for the Performing Arts. works by (We Come to the River), Anthony Braxton (Trillium R), Julius Alexandra Montano (keyboards, voice) sang the Hemphill (A Bitter Glory), and a revival of Harry title role in the European premiere of 's Partch's Oedipus with Newband. Mr. Stewart has opera Marco Polo and of La Belle in Philip Glass' recorded the songs of Lee Hoiby (Continual La Belle et La Bete . She made her Broadway Conversation with a Silent Man) and Cinque debut in 1996 in Julie Taymor's Juan Darien and Cuhti of Marc Corsoli for CRI. He performs early has performed with the Waverly Consort, which music with the Waverly Consort and Pomerium. tours South America, Asia, and America. She performed on the intemational tour of Philip The Institute of Regional Education (IRE) (film Glass and Robert Wilson's Monsters of Grace ; producers) is a nonprofit foundation based in 's Politics of Quiet in Portugal and Santa Fe, New Mexico, engaged in providing at The Kitchen (NYC); and was the soothsayer in information and research concerning social issues David Soldier's The Naked Revolution. She has to the pecple of the American Southwest. recorded the works of Josqula des Pres, Founded in 1973, the Institute's work has Hildegard von Bingen, Brian Eno, and Meredith included public interest advertising campaigns, Monk. She has also sung with Pete Seeger, Paul research and research training for nonprofit Winter, Arif Mardin, Western Wind, Elliot groups, art exhibits on Southwest culture , com­ Goldenthal, the Lounge Lizards, and David Lang. munity videc, and other media projects. She records for Sony Classical and Delos. A grad­ uate of the Mannes College of Music, she has Pomegranate Arts, Inc. (live production) , is an studied with Elizabeth Schwarzkopf and Arlene independent production cornpany founded by Auger. She appears with Voices of Ascension and Linda Greenberg in 1998 and dedicated to the Concert Royal , as well as her women's a cappella development of international performing arts pro­ trio, Cascabel. jects. It is the producer of Dracula: The Music and Film and the U.S. premiere tour of Cultural Valerie Naranjo (percussion) is a marimbist, per­ Industry's Shockheaded Peter, a music-theater cussionist, vocalist, composer, and musicologist work based on the Strewwelpeter Tales by who has dedicated herself to exploring the rela­ Heinrich Hoffman, directed by Phelim McDermott tionships between indigenous music of Africa and and Julian Crouch, and featuring the music of the Arnericas. She is a specialist on the West Martyn Jacques and The Tigerlillies. Other inter­ African gyil and traditional music, and mbaqanga national projects include the American launch of of South Africa and Zimbabwe. As a percussion­ Brazilian vocalist and Hannibal Records artist ist and arranger she has worked with the Virginia Rodrigues. Saturday Night Live Band and Julie Taymor's The Uon King , and has recorded and performed with the Philip Glass Ensemble, , Tori Amos , Selena, Airto, and the international per­ cussion ensemble Megadrums. She co-leads the mUlti-instrumental and vocal quintet Mandara and composes for theater, dance, and film.

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