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5 MESSAGE FROM OUR DIRECTOR

Welcome to the Fine Arts Center’s 40th Anniversary! I’m so glad that you’re joining us to celebrate the great music, dance, theatre and art on offer this year. To commemorate 40 years of performing and visual arts at the FAC, we’re bringing back crowd favorites and introducing you to acclaimed newcomers who are reinventing their genres. We’re also hosting free events throughout the Pioneer Valley and beyond that we hope you’ll enjoy. With dynamic performances and thought-provoking exhibitions, this season is guaranteed to get you thinking, dancing, singing and talking!

to be constructed at the core of campus for performing arts (Center Series) and the University Gallery (now the University Museum of Contemporary Art). The

the Boston Symphony Orchestra, conducted by Seiji Ozawa. The Boston Pops, conducted by Arthur Fiedler, performed the next night. Enthusiastic patrons

Since then, we’ve hosted Broadway shows such as Hair, top dance companies Alvin Ailey and Joffrey Ballet, and larger-than-life-personalities such as Marcel Marceau, Patti LuPone and Willie Nelson. Our patrons have seen jazz and Blues royalty like Ray Charles and BB King, and heard acclaimed symphony orchestras from across the US and around the world. Throughout its history the FAC has sought to enrich the experience of audiences by presenting visual and performing arts that represent a diverse world view, such as Children of Uganda, The Nile Project concert and the renowned Buena Vista Social Club, to name a few. Our aim is to bring the world to you, without the hefty price tag. For 40 years, the FAC has never wavered from its mission of engaging and inspiring the community with exemplary art that enriches lives and broadens perspectives. We bring the best in national and international artists right here to your backyard along with opportunities to engage with the artists and each other on a deeper level. And we hope to keep it that way with your continued support. Thanks to our returning patrons, subscribers and donors for supporting the FAC

you’ll be back again and again to sample more of what the FAC has to offer, this season and the next. Here’s to another 40 years!

Director, UMass Fine Arts Center

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In this Issue . . .

6 MESSAGE FROM THE DIRECTOR 18 SPLIT KNUCKLE THEATRE’S ENDURANCE 24 DOUG VARONE AND DANCERS 34 DIANNE REEVES 38 MUNICH SYMPHONY ORCHESTRA

48 Fine Arts Center Board and Staff

49 Friends of the Fine Arts Center

52 Evacuation Diagram

54 Patron Services Information

55 Symbols of Support

14 9 We care about you, your family and the community. It’s not a new feeling. It’s the way we’ve ALWAYS felt. That’s why we support the UMass Fine Arts Center.

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2015-2016 CLASSICAL SERIES 2015-2016 POPS SERIES Kevin Rhodes, Music Director & Conductor Opening Night Gala Faithfully: Saturday, October 3, 2015 The Music of Journey Saturday, October 17, 2015 Haydn Trumpet Concerto Saturday, November 7, 2015 Home for the Follidays Holiday Concert Grieg Piano Concerto Saturday, December 5, 2015 Saturday, February 6, 2016 Gershwin’s Porgy and Bess, Centennial Sinatra – Copland, Schwantner & Ellington Celebrating the Music of Saturday, February 27, 2016 “Ole Blue Eyes” Saturday, February 13, 2016 Stravinsky “The Firebird” Saturday, March 12, 2016 Blockbuster Movie Scores: Kevin Rhodes Conducts Beethoven & Brahms John Williams Saturday, April 9, 2016 Saturday, April 23, 2016 Season Grand Finale Saturday, May 7, 2016 Season Sponsor For Tickets & Info, call 413.733.2291 or visit Spring,eldSymphony.org

17 Friday, October 16, 8 p.m. Bowker Auditorium

SPLIT KNUCKLE THEATRE’S ENDURANCE

Created by Split Knuckle Theatre in collaboration with Nick Ryan

Cast Larry, James Hurley, Thomas Orde-Lees………………. Jason Bohon * Mark, Frank Worsley, Chippy McNish……………… Andrew Grusetskie * Walter Spivey, Frank Wild……………………… Michael F. Toomey * Ben, Sir Ernest Shackleton…………………….. Greg Webster * * Actors appear courtesy of Actors’ Equity Association

Running time is approximately 90 minutes, with no intermission

Event Sponsors:

Funded in part by the New England States Touring program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts Regional Touring Program and the six New England state arts agencies. * Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negoti- ates wages and working conditions, providing a wide range of benets, including health and pension plans. AEA is a member of the AFL-CIO, and is a€liated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

18 NOTES ON THE PROGRAM “Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honor and recognition in case of success.” – Sir. Ernest Shackleton Antarctic explorer Sir Ernest Shackleton placed the above advertisement in a London paper in 1914, and more than ten thousand men applied for 27 crew positions on board the HMS Endurance. Shack- leton’s goal of being the rst man to traverse the South Pole would quickly evolve into one of the greatest survival stories of all time. Trapped in the Antarctic with no hope of rescue, Shackleton and his team would become the stuF of legend. Here in the 21st century United States, we nd ourselves facing some turbulent times and diIcult challenges. Still reeling years after two major wars and the worst economic downturn since the Great Depression, we are beset with an economy that rewards only the richest and a Congress that remains incapable of action. The question foremost on our mind as a company: how will history judge our response to adversity?

ABOUT THE COMPANY Who is Split Knuckle? Split Knuckle was formed in London in 2005 by a group of performers trained in the work of the late French theater master Jacques Lecoq. Much of his Pedagogy is physically based and places the focus on collaboration and devised theater creation. What is devised theater? We start with an idea and a blank stage. Devised theater means the script originates with collab- orative improvised work by a group of people, in this case: performers, a writer, a musician, a stage manager and designers. During the process of creation, the ensemble decides exactly what text and movement to include. By the time a devised piece is presented to the public it has a xed form. There is no director in the traditional sense where one person stands outside the action and makes nal decisions; decisions are made through collaboration, debate and careful attention to the demands of the evolving story and the dramatic space. Company Mission Split Knuckle is a critically acclaimed company that creates dynamic, physical, visually striking theatre from simple materials. Through imagination, text and movement, we create vast landscapes, vivid characters, and epic stories. We make powerful theatre, engaging the audience and performers in collective acts of imagination. Using the expressive power of the human voice and body, we tell stories confronting the wonders and challenges of life in our world. Split Knuckle is actively developing innovative theatre and we perform, direct, teach, and lead workshops around the globe.

DESIGN TEAM

Music Director/Composer Dialect Coach Ken Clark David Alan Stern Costume Designer Performance Development Lucy Brown Seth Bloom Dramaturg Production Stage Manager Dassia Posner Carmen Torres Lighting Designer Dan Rousseau

19 Andrew Grusetskie is a founding member of Split Knuckle Theatre and has created and performed in both Endurance and John Steinbeck’s The Pearl . An Associate Artist with the New York-based ACTIVE EYE Theater Company, Andrew has appeared in its productions of Hard Lovin’ Ever After , Woyzeck and Senjo , and wrote its adaptation of Dojoji , which premiered at the Cleveland Public Theater in 2004. Other New York credits include Billy Budd (Metropolitan Playhouse), Voyage of the Carcass (Stage 13), Corporate Carnival (Women’s Project), and Life is a Dream (Edge Theater Company). Regional work includes Around the World in 80 Days (Westport Country Playhouse), The Mousetrap (Olney Theatre), Arabian Nights (Connecticut Repertory Theatre), School for Scandal and The Odyssey (McCarter Theatre), Proof, Stones in His Pockets and Rough Crossing (Northern Stage). TV: Law & Order. Andrew is a graduate of Yale University and the London International School of Performing Arts. Michael F. Toomey is a founding member of Split Knuckle Theatre and co- creator and performer of The Pearl . Michael has been a member of the Nationally Acclaimed Shakespeare & Company in Lenox, MA since 1998 playing in such roles as: Macbeth (title role), Julius Caesar (Caesar/Octavius), Coriolanus (Brutus), Twelfth Night (Fabian) Hamlet New England Tour 2000 (Polonius/Horatio), Henry V (Bardolph), Taming of the Shrew (Bianca) Merchant of Venice (Salerio) Triumph of Dark- ness (Grisben), Henry V New England Tour (French King/Nym). Michael has also appeared on PBS’ Brush Up Your Shakespeare an Evening at the Pops (Mercutio) and BBC4 Radio American Heavy (Hank). Michael is a ght choreographer/teacher for the company and is a Senior Education Artist for Shakespeare & Company’s Education Department. This program reaches over fty thousand students a year. Michael has recently written/directed an adaptation of Shakespeare’s long poem Venus and Adonis with an all-female cast and is currently working on a clown show called Francis Goes to War (this ain’t the boy scouts anymore) Michael is a graduate from LISPA and holds an MFA in Lecoq based actor-created theatre from Naropa University. Seth Bloom is a street performer, mask-player, juggler, and mask-maker. His specialty, non-verbal slapstick comedy, has enabled him to perform around the world without a language barrier. He is the rare entertainer who performs in the street, creates critically acclaimed theatre, and develops social circus projects for children and adults in Afghanistan. He is the co-creator of The AcrobuFos, co- founder of Split Knuckle Theatre, and a long-time collaborator with the Mobile Mini Circus for Children, headquartered in Kabul, Afghanistan. Seth brings to his expertise his education at the London International School of Performing Arts (MFA), the Dell’Arte School of Physical Theatre, Wesleyan University, and the Ringling Brothers Clown College. He has worked--performing, direct- ing, and/or teaching in over 16 countries. Jason Bohon is the Producing Director of Split Knuckle Theatre. He has worked regionally with Theatre de la Jeune Lune, Children’s Theatre Company, Theatre Latte Da, Kansas City Rep, and Shakespeare Theatre of NJ. He studied at the London International School of Performing Arts and recently taught as a Visiting Professor of Theatre at Drake University. Greg Webster is a founding member and the Artistic Director of Split Knuckle Theatre, and a co- creator of both Endurance and John Steinbeck’s The Pearl . In addition to a long career as an actor and choreographer, he is Professor of Movement Theater at UConn. Dan Rousseau has been the lighting designer for Split Knuckle Theatre since 2008 and is credited with lighting the productions of The Pearl , Endurance , and The Curious Case of Phineas Gauge . Dan is a lighting designer for stage and TV throughout the NYC area. He is a lighting director with The Lighting Design Group and serves as the LD at CNN NY overseeing various broadcast program- ming. In 2013, Dan earned an Emmy in Lighting Direction for NBC Democracy Plaza, Election Night 2012. He holds a BFA in design/technical theater from the University of Connecticut. Carmen A. Torres is a New York based stage manager. She has stage managed domestically and internationally with productions including The Wind Up Bird Chronicle (Singapore Arts Festival), Basil Twist’s Rite of Spring (Rite of Spring Festival at 100), and Arias with a Twist (Tandem Otter Productions). She holds a BA from the University of Connecticut.

Contact +1 347 868 7583 Join our mailing list P.O. Box 8913, New Haven, CT 06532 www.splitknuckletheatre.org [email protected] Like us on Facebook

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21 22 23 Tuesday, October 20, 7:30 p.m. Fine Arts Center Concert Hall

DOUG VARONE AND DANCERS

Artistic Director Doug Varone The Company Hollis Bartlett Jake Bone Xan Burley Casey Loomis Alex Springer Hsiao-Jou Tang Doug Varone Aya Wilson Ryan Yamauchi Lighting Designers Robert Wierzel Ben Stanton Costume Designers Reid Bartelme Harriet Jung Liz Prince Technical Director Dan Feith Executive Director Administration Manager Julia Glawe Elizabeth Fort

Doug Varone and Dancers receives funding support from the Alphawood Foundation, American Dance Abroad, Dubose and Dorothy Heyward Memorial Fund, Fan Fox and Leslie Samuels Foundation, Harkness Foundation for Dance, Jerome Robbins Foundation, Mid-Atlantic Arts Foundation, the New York Community Trust, and the Shu- bert Foundation. This program is supported, in part, by public funds from the National Endowment for the Arts, the New York State Council on the Arts and the New York City Department of Cultural AIairs in partnership with the City Council. We also gratefully acknowledge the Commissioning Club and our many individual supporters.

Event Sponsors:

24 LUX (2006)

Choreography by Doug Varone Music by Philip Glass, The Light Lighting Design by Robert Wierzel Costume Design by Liz Prince

HOLLIS BARTLETT JAKE BONE XAN BURLEY CASEY LOOMIS ALEX SPRINGER HSIAO-JOU TANG AYA WILSON RYAN YAMAUCHI

Lux premiered on October 19, 2006 in San Luis Obispo, CA and was solely commissioned by the Daniel and Dianne Vapnek Family Fund. It was created, in part, while in residence at Summer- dance, Santa Barbara, CA.

Pause THE FABULIST (2014)

Choreography by Doug Varone Music by David Lang, Death Speaks Lighting Design by Ben Stanton Costume Design by Reid Bartelme and Harriet Jung

DOUG VARONE

A fabulist creates or relates fables, true or imagined.

The Fabulist premiered July 22, 2014 at the American Dance Festival. It was commissioned by the American Dance Festival with support from the Doris Duke/SHS Foundations Award for New Dance and created in residence at the 92nd Street Y Harkness Dance Center and at The College at Brockport. Additional funding support provided by the New York State Council on the Arts and the AEV Foundation.

Intermission ReComposed (2015)

Choreography by Doug Varone Music by Michael Gordon, Dystopia Lighting Design by Robert Wierzel Costume Design by Reid Bartelme and Harriet Jung

HOLLIS BARTLETT JAKE BONE XAN BURLEY CASEY LOOMIS ALEX SPRINGER HSIAO-JOU TANG AYA WILSON RYAN YAMAUCHI

ReComposed premiered on July 24, 2015 at the Durham Performing Arts Center, Durham, NC. It was co-commissioned by the American Dance Festival and the Nasher Museum of Art at Duke University. ADF support is provided by the Doris Duke/SHS Foundations Award for New Dance. ReComposed was made possible with generous support from the DOVA Commissioning Club: Lida Orzeck & Susan Miller, Joseph & Marie Varone, Carol & Peter Walker, Ann & Stephen Murphy, Jan & Bill Corriston, Anne Fitzgerald

Special thanks to the Joan Mitchell Foundation and Purchase College for their support and guidance.

25 Program Note from Doug Varone I am sure that many of you are familiar with the phrase ‘separated at birth,’ that popular phe- nomenon of comparing photos of famous people who look remarkably as if they could be closely related. Well, imagine my surprise when I came upon the work of Joan Mitchell (1925-92) , the incredible American abstract expressionist painter. Now, I don’t mean to imply that Mitchell and I look alike in any physical sense, it’s just that the thrust of our visual work feels remarkably akin. So much so, that I can actually see my dances in her extraordinary visuals, as if the line, form and color of her drawings had fallen out of my own creative imaginings. In the swiftness of her hand, I can see dances of mine spilling onto a canvas, embracing a familiar and deliberate sense of controlled chaos. Like many of my dances, she compresses extreme opposites and places stillness amidst a swirl of activity, giving each moment its own drama. “To her, art isn’t about art, but about life and the struggle to make meaning out of everything, even the most Leeting moments. It is an intimate encounter with a sumptuous but harsh lyricism that con- stantly courts but never succumbs to chaos.” – Patricia Albers, Joan Mitchell: The Lady Painter Using Mitchell’s work as a jumping oF point, we have created our new dance ReComposed . In essence, we are using movement to recreate and reimagine several of Mitchell’s most prominent pastels, delving deep into a palette of color and lines that hug and collide. Pushing the creative process forward were a dozen or so drawings that kept the studio alive with vibrant possibilities. Her pastels are portraits of her inner weather, or what she called ‘feeling states’. To me, they seem like gravity-less landscapes, hovering on the page with a vulnerable sense of urgency. As a dance maker, I have always considered myself a visual artist. Using the landscape of a dancer’s vocabulary to paint and sculpt each new work, I set movement against aural sounds and scores, shaping and crafting my own canvases into new energies. I knew that if I remained true to the choreographer deep within, that the worlds of Mitchell and Varone would collide in fascinating ways, pushing my own creative vision into new bold territory.

ABOUT THE COMPANY Each creative process is a tremendously collaborative event with the dancers, embracing all of our imaginations, instincts and artistry. My thanks and love to them for being such great, caring allies in the creation of the many dances that fall from my brain. – Doug Varone The 2015/16 season marks the Company’s 29th year. Since its founding in 1986, Doug Varone and Dancers has commanded attention for its expansive vision, versatility, and technical prowess. On the concert stage, in opera, theater and on the screen, Varone’s kinetically thrilling dances make essential connections and mine the complexity of the human spirit. From the smallest gesture to full-throttle bursts of movement, Varone’s work can take your breath away. On tour, the company has performed in more than 100 cities in 45 states across the U.S. and in Europe, Asia, Canada, and South America. Stages include The Kennedy Center, Lincoln Center, Brooklyn Academy of Music, San Francisco Performances, London’s Queen Elizabeth Hall, Toronto’s Harbourfront, Moscow’s Stanislavsky Theater, Buenos Aires’ Teatro San Martin, the Venice Bien- nale, Marble Hall in Tokyo, and the Bates, Jacob’s Pillow and American Dance Festivals. In opera and theater, the company regularly collaborates on the many Varone-directed or choreographed productions that have been produced around the country. Doug Varone and Dancers are among the most sought after ambassadors and educators in the eld. The company’s multi-discipline residency programs on tour capture their concepts, imagery and techniques across disciplines and for people of all ages and backgrounds, reaching out to audiences in unique ways that directly relate to their lives and interests. The company was selected to tour as part of 2013’s DanceMotionUSA(SM) program, a joint project between BAM and the US Department of State, touring, performing and teaching in Argentina, Paraguay and Peru for a month. This project culminated in the premiere of a new commissioned work for Brooklyn Academy of Music’s Next Wave Festival, in collaboration with the Argentina-based Brenda Angiel Aerial Dance. For the past 16 years, the company’s annual summer intensive workshops at leading universi- ties attract students and professionals from around the globe. The CHIN Project, a new mentoring program for emerging choreographers began its pilot year in 2014, overseeing 16 artists over the course of several months in the creation of new works. 26 Varone, his dancers and designers have been honored with 11 Bessie Awards. In celebration of their 29th year, the Company will be touring and reconstructing major dances from past repertory, as well as recent new works and company premieres. To learn more about the Company, visit www.dougvaroneanddancers.org. DOUG VARONE (Artistic Director) Award-winning choreographer and director As an educator, Varone teaches workshops Doug Varone works in dance, theater, opera, and master classes around the world for danc- lm, and fashion. He is a passionate educator ers, musicians and actors. He is currently on the and articulate advocate for dance. By any mea- faculty at Purchase College, teaching composi- sure, his work is extraordinary for its emotional tion and choreography. range, kinetic breadth and the many arenas in which he works. His New York City-based Doug HOLLIS BARTLETT is a performer, creator, and Varone and Dancers has been commissioned advocate for the arts. He was born and raised in and presented to critical acclaim by leading northern Illinois, and began dancing at a young international venues for close to three decades. age. His family moved to Massachusetts before he began high school and his love of perform- In the concert dance world, Varone has cre- ing followed him to the East Coast. In 2010 Hollis ated a body of works globally. Commissions graduated from NYU’s Tisch School of the Arts. include the Limón Company, Hubbard Street Since graduation he has had the pleasure of Dance Chicago, Rambert Dance Company working with Brian Brooks, Adam Barruch, and (London), Martha Graham Dance Company, the Metropolitan Opera. In addition to danc- Dancemakers (Canada), Batsheva Dance ing he is also a member of Dance/NYC’s Junior Company (Israel), Bern Ballet (Switzerland) and Committee, working to strengthen and unite a An Creative (Japan), among others. In addition, community of emerging professional artists and his dances have been staged on more than 75 administrators. Hollis joined Doug Varone and college and university programs around the Dancers in 2011. country. JAKE BONE , originally from Dallas, Texas, is a In opera, Doug Varone is in demand as both Brooklyn based performer, teacher and cho- a director and choreographer. Among his four reographer. He earned a BFA in dance at the productions at The Metropolitan Opera are Sa- University of North Texas where he performed lome with its Dance of the Seven Veils for Karita works by Bebe Miller, Kihyoung Choi, Anna Mattila, the world premiere of Tobias Picker’s Sokolow, and Bulareyaung Pagarlava (ADF). An American Tragedy , Stravinsky’s Le Sacre du Since moving to New York, Jake has had the Printemps , designed by David Hockney, and pleasure of working with Gibney Dance, the Hector Berloiz’s Les Troyens . He has staged Median Movement, the Metropolitan Opera, multiple premieres and new productions for and currently dances for Bare Dance Company. Minnesota Opera, Opera Colorado, Washington Additionally, he is the event coordinator for Opera, New York City Opera, and Boston Lyric Awakening Movement, a faith-based dance or- Opera, among others. His numerous theater ganization. Jake joined Doug Varone and Danc- credits include choreography for Broadway, ers in 2015. OF-Broadway and regional theaters across the country. His choreography for last season’s mu- XAN BURLEY , a graduate of the University of sical Murder Ballad at Manhattan Theater Club Michigan with degrees in Dance and English, earned him a Lortel Award nomination. Film is an active performer, choreographer, teacher, credits include choreography for the Patrick and arts administrator based in Brooklyn. She is Swayze lm, One Last Dance . In 2008, Varone’s grateful to have worked with artists/companies The Bottomland , set in the Mammoth Caves of Nancy Bannon, Daniel Charon, Donnell Oakley, Kentucky, was the subject of the PBS Dance in Shannon Gillen and Guests as a founding America: Wolf Trap’s Face of America . member, Shannon Hummel/Cora Dance, Tami Varone received his BFA from Purchase Col- Stronach Dance and the Metropolitan Opera, lege where he was awarded the President’s among others. She co-produces WAXworks Distinguished Alumni Award in 2007. Numer- and teaches professional classes at Mark Morris ous honors and awards include a John Simon Dance Group and Gibney Dance Center. Her Guggenheim Fellowship, an OBIE Award (Lin- choreography with partner Alex Springer has coln Center’s Orpheus and Euridice ), the Jerome been presented in NYC venues including BAX Robbins Fellowship at the Boglaisco Institute in (2011 Space Grant recipients), Triskelion Arts, Italy, two individual Bessie Awards, three Ameri- Movement Research at Judson Church, the can Dance Festival Doris Duke Awards for New Tank, DanceNOW[NYC], 92Y, and University Work, and four National Dance Project Awards. Settlement (AIR 2013-14). Their work has also He was recently awarded a prestigious Doris been commissioned for a variety of universities Duke Artist Award. 27 VALLEY CLASSICAL CONNECTION

Explore the many wonderful classical music groups and series available throughout the Pioneer Valley

HOLYOKE CIVIC SYMPHONY SMITH COLLEGE Haunted Holyoke Music in the Noon Hour Oct 25, 3 pm, Holyoke Community College, Free Nov 4, 12:30 "ż"1 pm, Sage Hall Green Room, Free Performing works by Sibelius and Berlioz, as well as Judith Gordon, piano and Christopher Krueger, ute, Bernofsky’s !Q%$V Q` J QCR !Q``Q`$ and Saint RSaëns’ perform Bach’s Sonata in B Minor, BWV1030. -:J$V /:H:G`V (Irina Condon, violin). www.holyokecivicsymphony.org Guest Ensemble: Revere Piano Quartet Oct 18, 3 pm, Sage Hall Green Room, Free MOUNT HOLYOKE COLLEGE Boston Rbased group performing Fauré F1:JQ G%:` V Choral and Orchestra Concert JQ8  1J 6 /1JQ` , and a rarely heard work by Korngold. Oct 24, 4 pm, Abbey Chapel, Free The MHSO performs works by Sibelius and Strauss, Sage Chamber Music Society: Morning Music with vocal ensembles performing Holst and more. Oct 25, 11 am, Sage Hall Green Room, Free www.mtholyoke.edu/acad/music/calendar_fall Mozart’s F1:JQ G%:` V 1J I /1JQ` , Debussy’s FV V 4%1 V , and varied duos by Handel/Halvorsen and Piazzolla. hp://www.smith.edu/smitharts/calendar.php MUSIC AT AMHERST CHAMBER SERIES Simone Dinnerstein, piano UMASS FINE ARTS CENTER Oct 30, 8 pm, Buckley Recital Hall, $ Acclaimed pianist Simone Dinnerstein performs Munich Symphony Orchestra works by Schumann, Lasser, J.S. Bach and Schubert. Nov 5, 7:30 pm, Fine Arts Center Concert Hall, $ With soloist Pepe Romero, and guitar quartet The Romeros, MSO performs French and Spanish Amherst Symphony Orchestra music including Rodrigo, Bizet and Massenet. Nov 7, 8 pm, Buckley Recital Hall, $ www. neartscenter.com The ASO performs “Vive la France,” a program of work by French composers. www.amherst.edu/academiclife/departments/music UMASS MUSIC DEPARTMENT Tuesdays in Bezanson Oct 20, 7:30 pm, Bezanson Recital Hall, $ MUSIC IN DEERFIELD Faculty chamber music series presents ‘An Evening Parker Quartet of Schubert,’ including vocal works. Nov 8, 4 pm, Sweeney Concert Hall, $ Performing quartets by Beethoven and Schumann, Faculty Concerts: Nadine & Friends II and !VC16 4]1`:C$ by Augusta Read Thomas. Oct 24, 7:30 pm, Bezanson Recital Hall, Free www.musicindeer eld.org Pianist Nadine Shank with friends from West Point & Coast Guard Bands, performing Schubert, von PIONEER VALLEY SYMPHONY ORCHESTRA Weber, Faure, Ito, Schnyder and Nagao. Philip Glass 7th Oct 24, 7:30 pm, Green eld High School, $ UMass Amherst Symphony Orchestra With Pioneer Valley Symphony Chorus, performing Oct 26, 7:30 pm, Fine Arts Center Concert Hall, $ Tchaikovsky’s 6:]`1HH1Q 7 :C1VJ , Philip Glass’ 47I].QJ7 Performing works by Borodin, Takemitsu (with ;Q8 5 >@QC VH5? and Elgar’s BJ1$I: :`1:QJ$8 marimba soloist Ayano Kataoka) and Tchaikovsky. www.pvso.org www.umass.edu/music/eventcalendar

28 and companies throughout the U.S. Xan joined worked with choreographers including Amy Doug Varone and Dancers in 2012. Jacobus, Tara Willis, Kensaku Shinohara, and Sarah Council. Most recently, she has been CASEY LOOMIS hails from upstate New York dancing with the A.O. Movement Collective, and is a performer, visual artist and Pilates Mariah Maloney Dance, Kendra Portier/BAND- instructor based in Brooklyn. Since graduat- portier, Nadia Tykulsker/Spark(edIt) Arts, David ing from Skidmore College in 2008 she has Dorfman Dance, with whom she was honored been grateful to work with a wide variety of to travel abroad through DanceMotion USA, choreographers & companies including the and is now thrilled to be working with Doug Va- Metropolitan Opera, Compagnie Julie Bour, rone and Dancers. She also occasionally creates Faye Driscoll, Netta Yerushalmy, Buglisi Dance her own choreographic work and enjoys teach- Theater, Brian Brooks Moving Company, ing dance, most recently in the Contemporary KEIGWIN + Company and ChristinaNoel & the Forms series at Gibney Dance Center. Creature among others. She also satises her appetite for levity in dance performing in the RYAN YAMAUCHI was born and raised in Hono- weekly Floating Kabarette with Jenny Rocha lulu, Hawaii and began his dance training at the & Her Painted Ladies. As a visual artist, Casey Mid-Pacic Institute School of the Arts. He later makes color-driven, abstract paintings and moved to New York and received his BFA in dabbles in costume design, photography and Dance from SUNY Purchase. Ryan has had the other mediums. Casey began working with pleasure of working with a number of compa- Doug Varone and Dancers in 2014. nies and choreographers in New York including Loni Landon Dance Projects, ProjectLIMB, David ALEX SPRINGER , originally from Farmington Norsworthy, and Sidra Bell Dance New York Hills, MI, is currently a Brooklyn-based perform- (Apprentice). Ryan began working with Doug er, choreographer, teacher, and video artist. He Varone and Dancers in 2015. graduated from the University of Michigan with a BFA in Dance and a minor in Movement Sci- ROBERT WIERZEL (Lighting Designer) has ence. He has been a member of Doug Varone worked with artists from diverse disciplines and Dancers since 2008 and has also performed and backgrounds in theatre, dance, new music with Alexandra Beller, Donnell Oakley, Elizabeth and opera on stages and museums throughout Dishman, Amy Chavasse, and the Metropolitan the country and abroad. Mr. Wierzel has a long Opera Ballet. Alex has staged Varone’s work history (30 years) with choreographer Bill T. for various companies and universities and Jones and his company, the Bill T. Jones/Arnie has taught at the Bates Dance Festival, Gibney Zane Dance Company (several Bessie Awards, Dance Center, Mark Morris Dance Center, the along with productions at the Lyon Opera Ballet 92Y, and the former Dance New Amsterdam. and Berlin Opera Ballet ). Other dance collabora- Additionally, Alex creates work with Xan Burley, tions include choreographers Larry Goldhuber together the Median Movement, and they and Heidi Latsky, Worse Case Scenario (Bessie have shown their work for the stage and screen Award), Margo Sappington, Alonzo King, Sean throughout NYC and the US. They recently Curran, Molissa Fenely, Susan Marshall, Trisha received the Emerging Artist Award from their Brown, How long…, and Doug Varone, Orpheus alma mater. Otherwise, Alex works as a free- and Euridice (Obie Award-Special Citation). lance video artist for A.O. Pro(+ductions) and Other credits- Broadway: Lady Day At Emerson’s is the media manager/video archivist for Doug Bar & Grill , staring Audra McDonald; FELA! Varone and Dancers. (TONY Award nomination); David Coppereld’s Dreams and Nightmares . Regional: A.C.T. San HSIAO-JOU TANG was born and raised in Francisco; Arena Stage; Shakespeare Theatre Taiwan where she studied ballet, modern, DC; Hartford Stage; Long Wharf Theatre; traditional Chinese dance and martial arts. She Goodman Theatre; The Guthrie; Mark Taper moved to New York in 2004 to attend SUNY Forum; Berkley Rep; Milwaukee Rep; Chicago Purchase College and graduated in 2008 with a Shakespeare; Westport Country Playhouse, BFA in Dance. Tang has had the great pleasure among many others. Opera companies of Paris of working with a number of wonderful people (Garnier); Berlin; Tokyo; Toronto; Montreal; Bos- and companies including Kyle Abraham / Abra- ton; Glimmerglass Festival; NYCO; San Diego; ham.in.motion, the Metropolitan Opera, Shen San Francisco; Houston; Washington; Seattle; Wei Dance Arts, Kevin Wynn Collection, Daniel Virginia; Portland; Vancouver; and Chicago Charon Dance, Nora Petroliunas/The Pharmacy (including Lyric Opera and Chicago Opera The- Project and the Median Movement . Hsiao-Jou atre). Mr. Wierzel is currently on the faculty of joined Doug Varone and Dancers in 2012. New York University’s Tisch School of the Arts. AYA WILSON is a dance artist currently residing BEN STANTON (Lighting Designer) Lighting for in New York City. Originally of Normal, Illinois, Doug Varone: Mouth Above Water (92nd Street she graduated with a BFA in dance from the Y), Murder Ballad (Lortel Award Nomination, University of Iowa. In New York City, Aya has 29 Award), Margo Sappington, Alonzo King, Sean LIZ PRINCE (Costume Designer) Liz Prince Curran, Molissa Fenely, Susan Marshall, Trisha designs costumes for theater, lm and dance Brown, How long…, and Doug Varone, Orpheus and has had the great pleasure of designing and Euridice (Obie Award-Special Citation). for Doug Varone since 1997. Her work has been Other credits- Broadway: Lady Day At Emerson’s exhibited at the New York Public Library for Bar & Grill , staring Audra McDonald; FELA! the Performing Arts, 2011 Prague Quadrennial (TONY Award nomination); David Coppereld’s of Performance Space and Design, Cleveland Dreams and Nightmares . Regional: A.C.T. San Center for Contemporary Art, Rockland Center Francisco; Arena Stage; Shakespeare Theatre for the Arts and Snug Harbor Cultural Center. DC; Hartford Stage; Long Wharf Theatre; She received a 1990 New York Dance and Per- Goodman Theatre; The Guthrie; Mark Taper formance Award (BESSIE) for costume design Forum; Berkley Rep; Milwaukee Rep; Chicago and a 2008 Charles Flint Kellogg Award from Shakespeare; Westport Country Playhouse, Bard College for achievement in her eld. She among many others. Opera companies of Paris teaches costume design at SUNY Purchase Col- (Garnier); Berlin; Tokyo; Toronto; Montreal; Bos- lege and Manhattanville College. ton; Glimmerglass Festival; NYCO; San Diego; San Francisco; Houston; Washington; Seattle; REID BARTELME AND HARRIET JUNG (Costume Virginia; Portland; Vancouver; and Chicago Designers) founded Reid & Harriet Design in (including Lyric Opera and Chicago Opera The- the Fall of 2011. They were classmates in the atre). Mr. Wierzel is currently on the faculty of fashion design program at the Fashion Institute New York University’s Tisch School of the Arts. of Technology. Prior to meeting at FIT, Reid had spent 10 years working as a dancer and Harriet BEN STANTON (Lighting Designer) Lighting for earned a degree in Molecular and Cell Biology Doug Varone: Mouth Above Water (92nd Street from UC Berkeley. Collaboratively, they have Y), Murder Ballad (Lortel Award Nomination, designed costumes for Justin Peck, Marcelo MTC & Union Square Theater), The Fabulist Gomes, Kyle Abraham, Jodi Melnick, Pontus (ADF). Broadway: Fun Home (Tony nomination), Lidberg, Matthew Neenan Mauro Bigonzetti, Seminar, An Enemy of the People. Recent New and Doug Varone. They have costumed produc- York Theater: Our Lady of Kibeho, Kung Fu, An- tions at American Ballet Theater, New York geles In America (Signature Theater), Fun Home City Ballet, Hubbard Street Dance Chicago, the (Lortel Award Nomination., The Public Theater), Malpaso Dance Company, Pacic Northwest Into The Woods (Shakespeare in the Park), Bel- Ballet and the Pennsylvania Ballet. Outside of leville (Lortel Award Nomination., NYTW), The concert dance work they have dressed pop Lion, The Whipping Man (Lortel Award, Drama artist JB Dubbs in one of his music videos and Desk Nomination. MTC). Concert & Tour designs have dressed notable dancers for gala events. for The National (Touring LD, Trouble Will Find Along with Justin Peck, they are featured in the Me), Regina Spektor (Sets & Lights What We documentary Ballet 422 which premiered at Saw from the Cheap Seats), Suwan Stevens (Age the 2014 TriBeCa Film Festival. of Adz, Planetarium, Christmas Tour), Beirut (American Tour The Rip Tide), and St. Vincent DAN FEITH (Technical Director) has been work- (Strange Mercy). www.benstanton.com. ing as a Production Manager/Lighting Design- er/Stage Manager/Technical Director in dance for the past 20 years. The companies he has worked for range from Pilobolus and Momix to the Tulsa Ballet and Hubbard Street Dance.

OPEN FOR TOURS WEDNESDAY - SUNDAY, 11 AM - 4 PM 280 MAIN STREET AMHERST, MA 413-542-8161 WWW.EMILYDICKINSONMUSEUM.ORG

30 DOUG VARONE AND DANCERS is incorporated as DOVA, Inc., a not-for-prot tax-exempt orga- nization founded in 1995. Contributions to the Company’s work are tax-deductible and greatly appreciated. Please make your gift payable to: DOVA, Inc., 260 West Broadway, Suite 4, New York, NY 10013 USA Website: www.dougvaroneanddancers.org Email: [email protected] Board of Directors, DOVA, Inc. John Lanasa, Chair Richard J. Caples Jeanne Murphy Doug Varone Carol Walker Pearl Zuchlewski Elizabeth Geiger, Chair emeritus Bob Sanders, Chair emeritus Junior Board of Directors, DOVA, Inc. Hollis Bartlett, Chair Robin Cherof Katryn Geane Elena Hecht Joyce Lee Allison Mui Alexander Thompson Lindsay Ullman DOUG VARONE AND DANCERS Artistic Director: Doug Varone Executive Director: Julia Glawe Program Director: Ellyn Sjoquist Development Associate: Kaitlin Hines Rehearsal Director: Alex Springer Technical Director: Dan Feith Company Manager/Media & Archive Design: Alex Springer Tour Manager: Xan Burley Costume Manager: Hsiao-Jou Tang Operations Interns: Jess Beliles and Tanvi Doshi Design & Graphics: Sondra GraF/rpm:projects Press Agent: Jennifer Lerner Videography: Alex Springer Website Design: Design Brooklyn Booking Agent: Lisa Booth Management, Inc. Lisa Booth and Deirdre Valente 1501 Broadway #1508 New York, NY 10036 Tel: 212-921-2114 / Fax: 212-921-2504 Email: [email protected] MUSIC CREDITS: Philip Glass, The Light. © 1989 Dunvagen Music Publishers Inc. Used by Permission. Death Speaks by David Lang used by arrangement with G. Schirmer, Inc. on behalf of New York State Council on the Arts and the AEV Foundation. Red Poppy Music and Canteloupe Records. Dystopia composed and performed by Michael Gordon. By arrangement with G. Schirmer, INC. publisher and copyright owner. Courtesy of Canteloupe Records c/o G. Schirmer, Inc. Cast and program are subject to change. 31 Supporting the arts since 1983 Worker-owned, union print shops in Amherst & Florence

books & manuals design & scanning online upload wide-format color color & b/w digital posters & programs brochures & cards

"#$"%&'"()&'*+%",-.$"/-))-$ "0'1%"%-"%&'"23-*'$4'"56$'* ...74-33'4%68'4-96'+74-) 32 33 Friday, October 30, 8 p.m. Fine Arts Center Concert Hall

DIANNE REEVES

Peter Martin (piano, music director) Romero Lubambo (guitar) Reginald Veal (bass) Terreon Gully (drums)

Program will be announced from the stage. There will be an intermission.

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34 ABOUT THE ARTIST Dianne Reeves is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuos- ity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings—a Grammy rst in any vocal category. Featured in George Clooney’s six-time Academy Award nominated “Good Night, and Good Luck,” Reeves won her fourth of ve Best Jazz Vocal Grammys for the lm’s soundtrack. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the rst Creative Chair for Jazz for the Los Angeles Philharmonic and the rst singer to ever perform at the famed Walt Disney Concert Hall. Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight , an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben RatliF of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD’s I’ve heard.” In recent years Reeves has toured the world in a variety of contexts including a program entitled “Sing the Truth,” a musical celebration of Nina Simone which also featured Liz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball. Reeves’ latest release, Beautiful Life , won the 2015 Grammy for Best Jazz Vocal Album. Her rst album in ve years, Beautiful Life was produced by Terri Lyne Carrington and features Gregory Porter, Robert Glasper, Lalah Hathaway, and Esperanza Spalding. In January 2015 Reeves joined Paul Simon, James Taylor and Bobby McFerrin in a tribute to Michael Brecker at Jazz at Lincoln Center. Learn more at www.diannereeves.com.

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37 Thursday, November 5, 7:30 p.m. Fine Arts Center Concert Hall

Columbia Artists Management LLC The Creative Source for the Performing Arts

MUNICH SYMPHONY ORCHESTRA 2015 US Tour Philippe Entremont, Honorary Conductor Pepe Romero, Guitar Soloist The Romeros, Guitar Quartet

Georges Bizet Excerpts from Carmen Suites No. 1 and No. 2 19’ Joaquín Rodrigo Concierto de Aranjuez 21’ Pepe Romero, Guitar Soloist I. Allegro con spirito II. Adagio III. Allegro gentile Intermission Joaquín Rodrigo Concierto andaluz 24’ The Romeros, Guitar Quartet I. Tiempo de Bolero II. Adagio III. Allegretto Jules Massenet Le Cid: Ballet Music 17’ I. Castillane II. Andalouse III. Aragonaise IV. Aubade V. Catalane VI. Madrilene VII. Navarraise

Tour Direction: Columbia Artists Management LLC: Tim Fox, Alison Williams & Sarah Davis 1790 Broadway, New York, NY 10019 www.cami.com

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38 PROGRAM NOTES

Excerpts from Carmen Suites No. 1 and No. 2 (1875) GEORGES BIZET (1838-1875) Born in Paris, France, October 25, 1839 Died in Bougival, France, June 3, 1875 Bizet’s most popular opera, Carmen, was premiered at the Opera-Comique in Paris on March 3, 1875. The work was coldly received and Bizet, who died but three months later, was greatly saddened by the unfavorable reception. However, soon after Bizet’s death, the opera came into its own with almost fty performances in the following months. In fact, Tchaikovsky, who heard the work in 1880, declared that Carmen would be the most popular opera in the world within ten years, and his prophesy appears to have been correct, as Car- men celebrated its 500th performance in Paris in 1891. Bizet wrote to a friend in 1872, “I have been asked to write three acts for the Opera-Comique. Meilhac and Halqvy will do the piece. It will be bright, but of brightness that allows style.” The opera was based on a novel by Propsper Mer- rimqe, but the nal text was somewhat revised and expurgated. In the original form, the composer used spoken recitatives, since the work was for the Opera- Comique, but later they were orchestrated to t the requirements of grand opera. ©1994 Columbia Artists Management Inc.

Concierto de Aranjuez (1939) JOAQUÍN RODRIGO Born in Sagunto, Spain, November 22, 1901 Died in Madrid, July 6, 1999

When one considers that Joaquín Rodrigo has been blind since the age of three, it is both astonishing and inspiring to know that he has excelled as a composer, lecturer and pedagogue. In modern times, Rodrigo is regarded as one of the most important composers of his country, carrying on the traditions established earlier by Falla, Albéniz and Turina before him. His music, mostly in}uenced by the music of the Spanish nationalist composers, and partly styled by French music (particularly that of his teacher Paul Dukas) - has, nonetheless, a cosmopolitan quality that broadens the breadth and interest of his art. Rather than delving deeply into the spirit of Spanish music, Rodrigo’s works create a Spanish ambiance, with a picturesque element of folklore and borrowed 18th century mannerisms, all within melodies, harmonies and rhythmic patterns fol- lowing a broad neo-classical style. With the outbreak of the Spanish Civil War, Rodrigo moved to Paris, where in the winter of 1939 he composed his most successful work ever, the Concierto de Aranjuez for guitar and orchestra. This piece was responsible for bringing the composer great acclaim and overnight fame, as it immediately became internationally popular - something that no other guitar concerto had ever achieved, its popularity remaining unsurpassed. The unprecedented success of this work prompted Rodrigo to write concertos for other instruments, includ- ing piano (1942), violin (1943), cello (1949), harp (1952), four guitars (1967) and 39 “...in its notes one may fancy seeing the ghost of Goya, held in thrall by melancholia. Its music seems to revive the essence of an 18th century court where the aristocratic blended with the popular element, and one could say that in its themes there lingers on the fragrance of magnolias, the singing of birds and the gushing of fountains, although any more specic description is absent. “[It is] a synthesis of the classical and the popular in point of form and sentiment, dreams hidden beneath the foliage of the park surrounding the baroque palace and only wants to be as nimble as a butter}y and as controlled as a bullghter’s lunge.” two guitars (1968), in addition to the Fantasía para un gentilhombre (1954), another concertante work for guitar and orchestra. The Concierto de Aranjuez was premiered on November 9, 1940 in Barcelona and another performance followed the next month in Madrid. Regarding these performances, one critic wrote: “...it is impossible to nd another Spanish work with such exciting pic- turesque qualities and formal perfection. For the rst time in the history of our music, the picturesque and the classical are fused, reciprocally mitigating and enlivening each other.” The Concierto de Aranjuez is a mature work of astonishing balance; for its time it explored new elds of harmony and rhythm, and opened up a new eld of possibilities for the guitar as a concertante instrument. Despite the intimate quality of the guitar, with its archaic and folkloric associations, the instrument is never overpowered by the orchestra; instead, it asserts its individuality aided by Rodrigo’s masterfully transparent and colorful scoring which oftentimes achieves the eFect of chamber music. Rodrigo’s guitar concerto takes its name from the famous royal palace and surrounding grounds, so favored by the Bourbons in the 18th and 19th centuries, and located fty kilometers from Madrid on the way to Andalucía. Although the concerto is not programmatic, the composer once said the fol- lowing, regarding his intentions within this piece: The concerto is written in three movements, each having its own grace, delicacy and meaning. The rst movement, Allegro con spirito , is enlivened by its forceful rhythms, reminiscent of the fandango and the guajira , alternating between six-eight and three-four time. At the outset, instead of the usual tutti that would normally begin a concerto, the solo guitar oFers an introduction of rasgueado (“strummed”) chords in a quasi-}amenco style, supported by the doublebasses playing a pianissimo pedal-point on D. Built upon a sonata form, the movement charges forward in its insistent rhythmic surge, carried on by the two main themes and the recurring introductory chordal motif, as these are exchanged between soloist and orchestra. The guitar’s timbre is continu- ally contrasted by the use of solo instruments from the orchestra, mainly cello clarinet, oboe and }ute. The beautiful Adagio that follows has become as well known as the middle movement of Mozart’s Piano Concerto No. 21 of Elvira Madigan fame, due to its irrepressed lyricism. The main theme is introduced by a solo English horn accompanied by the guitar. This mournful dialogue is shared by other solo instruments like the oboe and bassoon, as the guitar adds its own poignant embellishments to the theme, at times recalling the saetas (devotional songs 40 related to cante hondo ) of Holy Week processions. An extended guitar cadenza draws the movement to its orchestral tutti conclusion. The concluding Allegro gentile evokes a courtly dance by means of its ronda (Spanish round dance) rhythms. Like in the rst movement, rhythmic ambiva- lence is achieved, this time, through the combination of two and three beat measures. The single, elegant theme is light and eFervescent, a quality which pervades throughout this lively movement. The theme is treated contrapun- tally in varying orchestration and traversing through diFerent keys before a brief descending gure ends the concerto as the music dissolves into nothing- ness. The Concierto de Aranjuez is scored for piccolo, }ute, oboe, English horn, pairs of clarinets, bassoons and trumpets, and the usual strings, in addition to the solo guitar. Long recognized as a masterpiece within its class, it has received more public performances and recordings than any other guitar concerto of the twentieth century. Its combination of power and simplicity and the enchantment of the guitar - amplied by the orchestra - remain as irresistible today as when the piece was heard for the rst time more than fty years ago. ©2000 Columbia Artists Management Inc.

Concierto andaluz (1967) JOAQUÍN RODRIGO Born in Sagunto, Spain, November 22, 1901 Died in Madrid, July 6, 1999 Joaquín Rodrigo was born on November 22, 1901, at Sagunto in the Spanish province of Valencia. Despite being blinded at the age of three, he devoted himself wholly to music. In 1926, after early artistic successes in his homeland, he went to Paris where he studied composition with Paul Dukas for ve years. There he also made the acquaintance of Manuel de Falla, whose friendship greatly in}uenced Rodrigo’s later career. Probably best known for his Conci- erto de Aranjuez for guitar and orchestra, Rodrigo has numerous compositions for the guitar that have become staples of the instrument’s repertoire. The Concierto andaluz, for four guitars and orchestra was commissioned by Celedonio Romero for the Romeros and premiered with the San Antonio Symphony on November 18, 1967 and recorded for Mercury Records a week later. And so began a long and intimate friendship and musical collaboration with the composer and the Romeros. As a Christmas gift in 1968 the Romeros received an extended, virtuosic cadenza to the second movement which was included in the Romeros’ second recording on Philips with Neville Marriner and the Academy of St Martin-in-the-elds. The thematic material is folkloristic and Spanish in nature, but completely original. Structurally, it is a masterful use of counterpoint and orchestration bringing the listener the profound multitude of feelings ranging from melan- choly to joy of celebration. ©2000 Columbia Artists Management Inc.

41 Le Cid: Ballet Music (1885) JULES MASSENET Born in Montaud, France, May 12, 1842 Died in Paris, France, August 13, 1912 French composer Jules Massenet is known today mostly for his operas Manon, Werther and Thais, but his twenty-ve operas were much in vogue in his day, thanks to his skill as a melodist. Massenet studied with Ambrose Thomas at the Paris Conservatoire and won the Prix de Rome in 1863; he spent the three subse- quent years in Rome, where he made the acquaintance of Franz Liszt. Part of his musical legacy is his famous students; he was the teacher of Gustave Charpen- tier, Ernest Chausson, and Georges Enescu, among others. Massenet’s 1885 opera Le Cid is set in 12th century Spain. The plot revolves around the famous knight known as “El Cid” who stopped the advance of the Moors. The ballet occurs in Act 2, on a lovely spring day when townspeople celebrate with a series of dances from the various regions of Spain. ABOUT MUNICH SYMPHONY ORCHESTRA

The logo of the Munich Symphony Orchestra shows a golden angel on the banks of the River Isar whose wing tips point skywards, keeping vigil over the Bavarian state capital. Strongly committed to Munich and its music traditions, the Munich Symphony Orchestra is one of the city’s four symphony orchestras. The Orchestra takes as its motto and as its remit the maxim “The Sound of our City”; with its four subscription concert series in Munich’s grand venues it is well- established as one of the city’s most renowned ensembles, and when on tour, it takes that “Sound of our City” far and wide beyond the city limits. Classical-Romantic orchestral repertoire is at the heart of the MSO’s mission to uphold musical traditions while oFering new listening experiences. Famous soloists and talented newcomers in the classical eld are always happy to make guest appearances with the orchestra. Experienced conductors and those just starting out on a career can regularly be seen on the rostrum directing the orchestra. Since the 2014/2015 season Bielefeld-born Kevin John Edusei has been the MSO’s Principal Conductor. He is complemented from time to time by the young German-American Ken-David Masur as Principal Guest Conductor, while the orchestra enjoys an artistic bond with Philippe Entremont, its Honor- ary Conductor. In addition to the classical repertoire, the Munich Symphony Orchestra also excels in top-}ight productions in the elds of opera, lm and show music. The program comprises around 110 concerts per year, oFering audiences a wide rep- ertoire in which the orchestra’s extrovert style of music-making is on show: lov- ers of lm soundtracks have enjoyed live performances of the music to “The Lord of the Rings” and Disney’s “Fantasia” and opera lovers }ock to the Opera Festival at the Gut Immling estate to enjoy the Munich Symphony Orchestra’s playing. 42 MUNICH SYMPHONY ORCHESTRA ROSTER

FIRST VIOLIN OBOE Marian Kraew, leader Katharina Wichate Maria Azova, leader Mario Kaminski Darko Popovtschak Annette Lottermoser CLARINET Günter Birett Nicola Hartwig Yulia Miropolskaya Marion Henne Markus Tschan Chiba Sakura BASSOON Hongjia Cui SECOND VIOLIN Sibylle Recknagel Makoto Arikawa, leader Helga Lenz HORN Zuzana Vojtova Richter Wolfram Orieta Dado Martin Neumaier Jasmin Mayer Lukas Rüdisser Anja Czak Bastian Schmid Veronica Richter Almuth Botzky TRUMPET Aljoscha Zierow VIOLA Martin HoFmann Nikita Gerkusov, leader Martin Honsalek, assistant leader TROMBONE Tamas Schunk Claus Jäkel Christina Kühner Andreas Oblasser Isidore Tillers Philipp Hasselt Miguel Ercolino TUBA VIOLONCELLO Constantin Hartwig Christopher Barritt, assistant leader Jakob Haas TIMPANI/DRUMS Kaynar Duygu Florian Ress Minna Rose Chung Alexander Penthin Feyaerts Adriaan DOUBLE BASS Plamen Todorov Susanne Goderbauer, leader Talia Schwarzwald, assistant leader HARP Johann Wagenbauer Irene Fenninger

FLUTE MANAGEMENT Piet de Boer Annette Josef, intendantin Désirée WolF Bernd Rose, orchestra manager Werner Bienek, stage manager

43

PHILIPPE ENTREMONT BIOGRAPHY The exceptional career of Philippe Entremont began at the age of eighteen when he came to international attention with his great success at New York’s Carnegie Hall playing Jolivet’s piano concerto and Liszt’s Piano Concerto No. 1 . Since then, he has pursued a top international career as a pianist, and for the last 30 years, on the podium as well. Philippe Entremont, in the 2013-2014 season, guest conducted European and American orchestras as well as performed numerous piano and cham- ber music concerts. He also toured the Vienna Concert-Verein in the United States with soloist, Sebastian Knauer. The 2012-13, 2011-12, and 2010-11 seasons took Philippe Entremont all over the world, with many orchestral tours including the Munich Symphony Orchestra, the Israel Festival Orchestra, the Deutsche Staatsphilharmonie, and the Shenzhen Symphony Orchestra. More- over, in the 2010-2011 season, Philippe Entremont became Principal Conduc- tor of the Boca Raton Philharmonic and Lifetime Laureate Conductor of the Munich Symphony Orchestra. His renown as an orchestral conductor and his dedication to developing orchestras’ artistic potential have led to numerous international tours, play- ing before full houses: ten tours in the US and seven in Japan with the Vienna Chamber Orchestra, a tour of eleven concerts with the Orquestra de Cadaqués in capitals of countries in Asia, and a tour in Switzerland and Germany con- ducting the Strasbourg Philharmonic Orchestra. As Principal Guest Conductor of the Munich Symphony Orchestra, he has led tours internationally, including the US in 2005 and 2006, conducting from the piano as well as the podium. He returned in both capacities for the Munich Symphony’s highly successful 15-concert US tour in February of 2009. In 1997, Philippe Entremont founded the biennial Santo Domingo Music Festival, of which he is Artistic Director and Conductor of the Festival Orches- tra. The Festival celebrated its 10th anniversary in 2007 with a special concert series featuring the premieres of two Festival-commissioned symphonies by Dominican composers, and performances by internationally renowned guest artists such as André Watts, Dan Zhu, Arturo Sandoval and Vitalij Kowaljow. He is also Principal Guest Conductor of the Orquestra de Cadaqués. In 2006, in connection with the “Mozart Year,” he conducted the Tokyo-based Super World Orchestra. Philippe Entremont was also among the 10 world-class pianists cho- sen to perform in the “Piano Extravaganza of the Century” at the 2008 Beijing Olympic Games. Mr. Entremont was Music Director of the New Orleans Philharmonic Orchestra between 1981 and 1986, after which he became Music Director of the Denver Symphony. He was also Chief Conductor of the Netherlands Chamber Orches- tra until 2002. After having served as Music Director and Chief Conductor of the Vienna Chamber Orchestra for almost thirty years, he is now Conductor Laureate for Life. He was also Music Director of the Israel Chamber Orchestra and is now their Conductor Laureate. Philippe Entremont has directed the greatest symphony orchestras of Europe, Asia and America: Philadelphia, San Francisco, Detroit, Minnesota, Seattle, St. Louis, Houston, Dallas, Pittsburgh, Atlanta, Montreal, The Academy of Saint 44 Martin in the Fields, The Royal Philharmonic Orchestra, the Orquestra Nacio- nal de España, the Academy of Santa Cecilia of Rome, l’Orchestre National de France, the orchestras of Göteberg, Stockholm, Oslo and Warsaw, the NHK of Tokyo, the KBS Orchestra of Seoul, the Vienna Symphony and the Philharmonic Orchestra of Bergen, to name a few. He has worked with the world’s greatest soloists, both instrumental and vocal. One of the most recorded artists of all time, Philippe Entremont has ap- peared on many labels, including CBS Sony, Teldec and Harmonia Mundi, and he has garnered all of the leading prizes and awards in the industry. His 2008 releases include Mozart’s Concertone; Concerto for Violin and Piano with the Wiener Kammerorchester; Strauss’ lieder with Sophie Koch (mezzo-soprano); and RachmaninoF’s Symphony No. 2 with the Orquesta del Festival Musical de Santa Domingo. Great Cross of the Austrian Republic Order of Merit, OIcer of the French Legion of Honor, Commander of the Order of Merit, Commander of the Order of Arts et Lettres, Philippe Entremont has also been awarded the Arts and Sci- ences Cross of Honor of Austria. He is President of the International Certicate for Piano Artists, President of the Bel’Arte Foundation of Brussels and is Direc- tor of the famed American Conservatory of Fountainebleau, a post formerly held by the legendary Nadia Boulanger.

PEPE ROMERO BIOGRAPHY One of the most celebrated and versatile musicians of his generation on any instrument; the Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career. Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel, Pepe established the Romeros Quartet—the “Royal Family of the Guitar”—as the leading guitar ensemble in the world. Known for classical performances of dazzling virtuosity, compelling interpreta- tions, and }awless technique, Pepe is also a passionate advocate of the tradi- tional }amenco of his native Andalusia. He has appeared as featured soloist with the world’s greatest orchestras and ensembles, in collaboration with the most celebrated conductors and composers. Since his rst recording, Flamenco Fenómeno! , released when he was only fteen, Pepe has made more than fty recordings, including over twenty con- certos with the Academy of St. Martin-in-the-Fields, conducted by Sir Neville Marriner and Iona Brown. Among his recent releases are the Concierto festivo written for him by Ernesto Cordero (NAXOS) and a song cycle Mi jardín solitario by Lorenzo Palomo (NAXOS). In November 2011, Deutsche Grammophon released Christmas with Los Romeros featuring the Romeros and Christmas favorites. A new Spanish solo collection entitled Spanish Nights (which in- cludes a premiere recording of Suite Madrileña No.1 by Celedonio Romero) was released in June 2012 by Deutsche Grammophon. In November 2012, Pepe Romero received a Latin Grammy Nomination for “Best Classical Album” for his recording of Concierto festivo by Ernesto Cordero. Beginning in 2013, Pepe Romero played numerous concerts worldwide hon- oring the 100th anniversary of the birth of his father, the legendary Celedo-

45 nio Romero. Pepe Romero will tour the world celebrating his own 70th year in 2014; he began with an all-Bach recital in New York City. This celebration continues with birthday recitals in Hong Kong, Zurich, Austin, Philadelphia, Baltimore, Dusseldorf, Munich, Berlin, Tokyo, Hamburg, Istanbul, Adelaide, Sidney and Dallas, among others. In 2004, Pepe Romero was named Distinguished Artist in Residence at the University of Southern California’s Thornton School of Music; he also teaches master classes at USC, in the Salzburg Summer Academy, the Schleswig- Holstein Festival, and the Córdoba Guitar Festival. Among other honors, Pepe has been knighted into the Order of “Isabel la Católica,” awarded honorary doctorates in music from the San Francisco Conservatory of Music and the University of Victoria and the “Premio Andalucia de Música,” the highest rec- ognition given by his native land for contribution to the arts. Pepe is featured in the award-winning lm documentary Shadows and Light: Joaquín Rodrigo at 90; the Romeros have been the subject of biographical documentaries on PBS television and the German television channel NDR. In 2007, the Romeros received the President’s Merit Award from the Recording Academy, producers of the Grammy Awards, for their signicant contributions to the music world and professional career achievements.

THE ROMEROS BIOGRAPHY Over half a century after walking onto the world stage as the rst classical guitar quartet, The Romeros continue to be a veritable institution in the world of classical music, dazzling countless audiences and winning the raves of reviewers worldwide. Known to millions as “The Royal Family of the Guitar,” the Romeros were founded by the legendary Celedonio Romero with his sons Celin, Pepe and Angel in 1958. The Quartet went through natural transformations, and today consists of the second (Celin & Pepe) and third generations (Lito & Celino). To have so many virtuosi of the same instrument in one family is unique in the world of musical performance, and in the realm of the classical guitar it is abso- lutely without precedent. The New York Times has said: “Collectively, they are the only classical guitar quartet of real stature in the world today; in fact, they virtually invented the format.” Celebrating their fty-fth anniversary, the season will include tours in Asia, Europe, South America and the United States. The Romeros will also be presenting special concerts and festivals in memory of the 100th anniversary of patriarch Celedonio Romero, including a performance in their birth city of Málaga, Spain. As the family says, “the spirit of the quartet is him; all our con- certs now pay homage to him.” In 1957, the family left Spain and immigrated to the United States, where three years later, “The Romeros” became the rst guitar quartet while the boys were still in their teens. The Romero tradition of family and love for the guitar provided the fertile ground for the next generation of guitar virtuosos as Celino and Lito joined the quartet. A recent project with Deutsche Grammophon included a much-anticipated

46 Christmas music recording featuring favorites from around the world. “Christ- mas with Los Romeros” was released worldwide in 2012, accompanied by a tour in Europe (2012) and the United States (2013) featuring music from this recording. Other recent recordings include a recital CD by Sony Red Seal label, entitled appropriately: Los Romeros: Celebration and DECCA released a retro- spective collection, Los Romeros: Golden Jubilee Celebration . The sterling reputation of The Romeros has been conrmed by repeated recital performances and orchestral appearances with symphony orchestras of Boston, Chicago, Detroit, Pittsburgh, Philadelphia, Cleveland, Los Angeles, San Francisco, Berlin, Vienna, Madrid, Sevilla, Amsterdam, Munich, Rome, Shanghai, Seoul, among many others. They have made frequent festival appearances throughout the world, including the Hollywood Bowl, Saratoga, Blossom, Wolf Trap, Salzburg, and Schleswig-Holstein. The Romeros are particularly popular with college audiences, making regular appearances on university music series throughout the country as well as on ne arts series worldwide. In New York, they have been repetitively invited to Carnegie Hall, Alice Tully Hall in Lincoln Center, the Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium, the Cloisters in Fort Tryon Park, the 92nd Street Y and Rockefeller University. They have appeared at Vienna’s Gesangsv- erein and Konzerthaus, the Berlin Philharmonie, Amsterdam Concertgebouw, Zurich Tonhalle, Madrid Auditorio Nacional de Musica, and the Beijing Concert Hall. The Romeros have performed on multiple occasions at the White House and many other venerable institutions worldwide. In 1983, they appeared at the Vatican in a special concert for John Paul II, and in 1986, they gave a command performance for his Royal Highness, the Prince of Wales. In 2000, His Royal Maj- esty King Juan Carlos I of Spain knighted Celin, Pepe and Angel into the Order of “Isabel la Católica”. With a 55-year plus history, The Romeros have built an enviable discography and their achievements have not gone unnoticed. In February of 2007, The Romeros were granted The Recording Academy’s President’s Merit Award from the GRAMMYs© in honor of their artistic achievements. Television fans have seen and heard The Romeros many times on such shows as The Tonight Show and The Today Show , PBS’s Evening at the Boston Pops , the KPBS/PBS biographi- cal documentary Los Romeros: The Royal Family of the Guitar , other PBS specials and the NDR documentary lm Los Romeros: Die Gitarren-Dynastie . Perhaps The Romero’s most lasting legacy is the creation of an entirely new repertoire for guitar quartet, both as a chamber ensemble and as a concerto soloist. For 55 years, The Romeros have inspired distinguished composers to either write new works or arrange existing ones, including Joaquín Rodrigo, Federico Moreno Torroba, Morton Gould, Francisco de Madina and Lorenzo Palomo. As Rodrigo has said, “The Romeros have developed the technique of the guitar by making what is diIcult to be easy. They are, without a doubt, the grand masters of the guitar.”

47 FINE ARTS CENTER BOARD & STAFF

FRIENDS BOARD OF DIRECTORS MARKETING AND DEVELOPMENT director of development, John Ebbets Neal Abraham Emeritus Members director of marketing, Shawn Farley William Baczek Barbara C. Bernard community relations manager, Anna Robbins Josh Bedell Richard Covell marketing & development assistant, Kimberly Medeiros Rosemary Caine Honoré David marketing assistant, Emily Everett Steven K. Daury Betsy Egan BOX OFFICE Allen Davis, Past Chair Carl Eger manager, Steven Coombs JoAnne J. Finck Seymour Frankel assistant manager, Richard Ballon Michael Gove Arnold Friedmann Madelyn Bonnot Gri!n Gwendolyn Glass PRODUCTION SERVICES Lee Hines J. Lynn Griesemer director of operations, Fritz Farrington Shelley Holzman, Chair Alfred L. Griggs associate director of operations, Brenda Cortina Lori Devine Hudson Joan Haley production stage manager, Ayumi Mizuno Cordeiro assistant technical director, Bob Mahnken John Kendzierski Nancy Hamel lighting director, Erica Conlon Michael Kusek Merilee Hill Julie Roman Lackner audio director, Sam Johnson Bill Hogan audience services manager, Melissa Cleary Pearson Barbara Lucey Motoko Inoue Beckie Markarian o"ce manager, Racquel Kirpan Dolly Jolly house manager, Emily Cooper Tony Maroulis Besty Loughran house manager, Glenn Proud Elaine Palmer Greg Malynoski house manager, Daryl Laurenza Shardool Parmar Dave Martula house manager, Colleen Reagan Justin M. Pelis Carol Moore Cutting house manager, Erika Spinale Terry Peters Kathleen Mullin Michael J. Simolo Sandra Parent EDUCATION Aaron M. Sundberg Lorna Peterson program manager, lively arts, John Nolan director, Jazz in July, David Picchi Hector Toledo Frederick C. Tillis, director of education & engagement, Yvonne Mendez Rhonda Venne Past Director Katherine E. Vorwerk Zina Tillona PERFORMING ARTS PROGRAMS Robert Mugar Yacubian Asian Arts & Culture director, Ranjanaa Devi Honorary Members marketing & outreach coordinator, Sue McFarland Nnenna Freelon Mike Haley Center Series Jimmy Heath director of programming, Halina Kusleika Sheila Jordan asssistant director of programming, Hillary Rathbun Stan Rosenberg Magic Triangle and Solos & Duos Peter Tolan coordinator, Glenn Siegel Lois Torf George Trakas VISUAL ARTS PROGRAMS University Museum of Contemporary Art director, Loretta Yarlow curator of education, Eva Fierst ADMINISTRATION business & communications manager, Betsey Wolfson director, Dr. Willie L. Hill, Jr. associate director, Dennis Conway Augusta Savage Gallery assistant to director, Erin Vermette director, Terry Jenoure gallery manager, Alexia Cota BUSINESS OFFICE director of administration and !nance, Margaret Curtiss Hampden & Central Galleries business o"ce manager, James Moes director, Anne La Prade technology manager, Christine Texiera gallery manager, Sally Curcio assistant technology manager, Alexia Cota bookkeeper, Cyn Horton

48 Through their support the following Friends of the Fine Arts Center play an integral role in making possible our performances, exhibits and educational programs. A sincere Thank You to all. (List reLects gifts between July 1, 2014 and June 30, 2015)

SPONSORS El Sol Latino Mt Holyoke College $10,000 & above Exclusive Car Service Printmaking Workshop Health New England North Country Landscapes & Individuals Finck & Perras Insurance Garden Center Daniel Buren Agency, Inc. Performance Food Service LaToya Ruby Frazier Lexington Group, Inc. Peter Pan Bus Lines Frank Gohlke Pioneer Valley Periodontics/ Phoenix Exposition Services, Inc. John Riddy Steven H. Goldsher DDS Pioneer Valley Travel, Inc. Silverscape Designs Businesses Quad/Graphics, Inc. Tod Williams Billie Tsien Architects United Bank Applewood, Member of Valet Park of America Loomis Communities UMass Five College Federal Credit Union WEIB 106.3 Smooth FM Baystate Health Systems, Inc. WGBY-TV 57 Coca-Cola Bottling Company United Personnel Services Viju Inc. William Baczek Fine Arts Chubb Group of William Wegman Studio Insurance Companies You Are Cordially Invited LLC Daily Hampshire Gazette MEMBERS New England Public Radio $1,000–$2,499 (WFCR/NEPR) SUSTAINER Pioneer Valley Hotel Group Individuals $500–$999 Neal B. Abraham Professional Drywall Individuals Construction, Inc. John F. & Linda Ahern Patricia K.S. & Richard A. Baker Anonymous Donor (1) The Recorder/Valley Kids Rosemary Caine & UMass Campus Center Hotel Marc Berman & Elizabeth H. Stone Curtis R. & Madelyn Bonnot GriIn Howard B. Natenshon UMass Catering Services Honoré S. & Donald J. David Valley Advocate/Preview Magazine John G. Bryan & Terry Peters Hugh B. Calkin John E. Ebbets Michael Cohen Charles D. Hadley, Jr. ADVOCATES Daniel Farrell & Mary Agnes Nelen Jayant & Alyssa Haksar $5,000–$9,999 Robert S. Feldman & Terron & Natasha Hillsman Katherine E. Vorwerk Louise Kohrman & Individuals Michael D. Martindell John F. Dubach & Copper F. Giloth Ian H. Fraser & Pamela Bartlett Helen Kay Galloway John Levine & Susan M. Clopton Ronna B. Erickson Bruce M. & Nancy W. Goldstein Gregory & Kathleen F. Malynoski Beth E. Gerrig Bryan C. Harvey & J. Lynn Griesemer Andrew P. Mangels Scott W. Prior & Nanny Vonnegut Marie A. Hess Pamela & Gordon N. Oakes, Jr. Beat Streuli Beverly G. & Willie L. Hill, Jr. Lynn Peterfreund & Nicholas Xenos Victor & Karen Hardy Woolridge Richard B. & Shelley Holzman Lorna & Dale Peterson Motoko Inoue Andrew J. & Kirsten Dieterich Pitts Businesses Mark & Mary B. Ledwell Laura D. Radwell Cooley Dickinson Hospital, Inc. Elizabeth L. Loughran Lorna Ritz Florence Bank James F. Mallet & Ronald R. Rossi Hampshire Hospitality Group, The Jennifer C. Southgate Margaret Sarkissian & PeoplesBank Tony A. & Nora Maroulis Jerry P. Dennerline Rainbow Times John J. McCarthy, III & Paul A. Sihvonen-Binder WRSI 93.9—The River Ellen M. Woolford James V. Staros & Alice C. Harris Richard N. & Elaine S. Palmer Zina Tillona ASSOCIATES Mary Catherine Phinney Rhonda & Richard W. Venne $2,500–$4,999 Robert J. Powers Edward W. & Evelyn Westhead Micah & Maureen Raab Jonathan & Meg Wright Individuals Theodore Rosenberg & Robert Mugar Yacubian Alice Aycock Laurel A. Glocheski Robert & Beverly Yoon Sol & Mimi Berg Lila Roundtree Robert T. Zimmerman Carl & Shirley A. Eger Sarah K. & Mark Tanner Businesses Gerrig-Peterson Family; Frederick C. Tillis in memory of Risa Gerrig ‘81 Chesterwood Museum Matthew Higgs Businesses Duseau Trucking/Volume Andrew Lugg Agnoli Sign Company, Inc. Recycling Associates Allan Wexler D’Addario & Company Inc. Eric Carle Studios dani. ne photography Fallon Community Health Plan Businesses Forget Me Not Florist Gage-Wiley & Co. Inc. Be Seen Leadership FreshPoint Connecticut, LLC Gove Law OIce, LLC Chartpak, Inc. Greeneld Radiology Associates P.C. Greeneld Cooperative Bank Daury Wealth Management Hampden Bank Hair by Harlow/ Kendra A. 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51 52 53 Patron Services For Hearing-Impaired Patrons Refreshments 45565!#7$265!#3638$7#96*#5:$,37.*!6&3$ Concessions are available before the loops and headsets are available for performance and during intermission for patrons with hearing impairments most Center Series Concert Hall events. 137$;1-$%#$*"#*/#7$&.!$<6!"$13$,=$ For patrons in our wheelchair section, in the lobby prior to the performance. please notify an usher and they will be Compatible with most ALS systems and happy to bring the refreshments to you. in compliance with the ADA. A credit card, driver’s license, or valid student Restrooms ,=$<622$%#$"#27$15$5#*.>6!-$<"62#$7#96*#5$ Restrooms are located on the lower are in use. level of the Fine Arts Center Concert Hall adjacent to the University Gallery Emergency Closing and in the Concert Hall main lobby. ,3$*15#$&($#;#>8#3*-?$!"#$268"!#7?$>#7?$ When available there are additional exit sign near your seat is the shortest restrooms in the Rand Theater area. route to the exterior of the building. For Fully accessible restrooms are available your safety, please check the location in the Concert Hall and Bowker of the exit closest to your seat and Auditorium. Restrooms in the Concert review the evacuation map included in Hall for the mobility impaired are located this playbill. Also, follow the directions in the lobby and the refuge area outside provided by the ushers. section 3 on house right. Accessible Parking Drinking Fountains An access-parking permit or plates Drinking fountains are located on the must be visible to parking attendants. lower level of the Concert Hall near the restrooms and in the lobby. For Your Viewing Pleasure Check out what’s on view in the Late Seating University Museum of Contemporary Patrons arriving after the start of the Art. The University Museum is located performance will be seated at an on the lower level of the Concert appropriate break and at the house Hall and is open one hour prior to manager’s discretion. the start of performances and during intermission. The Museum is also open Pagers and Cell Phones to the public Tuesday through Friday, Please turn off all pagers and cell 11am to 4:30pm, and Saturday and phones when entering the concert hall. Sunday, 2 to 5pm.

On Call Service Performance Cancellation Doctors and persons needing Fine Arts Center performances are emergency call service are asked to rarely canceled and only in the case leave their name and seat location with &($5#9#>#$<#1!"#>+$,($1$0#>(&>;13*#$65$ !"#$%&'$&([*#+$,($-&.$/##0$1$*#22$0"&3#$ *13*#2#7?$-&.$*13$*122$!"#$@&'$A([*#$ or pager with you, please use the silent, at 1-800-999-UMAS or 545-2511 vibration option. or tune in to the following radio and Cameras and Recording Devices television stations: public radio station The taking of photographs or recording BCDE$FF+GCH?$BIHJ$KK+KCH?$BEL,$ the performance in any way is strictly 95.3FM, WFSB CBS 3 and WGGB- prohibited. MNOP+$,($1$0#>(&>;13*#$65$*13*#2#7?$ patrons may exchange tickets for ATM another event (subject to availability), The nearest ATM bank machine is may receive a credit on their account, located in the Newman Center and or may request a refund. on the lower level in the the Campus Center. Please recycle your playbill in the lobby.

54

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62 Good thinking.

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63 BAYSTATE HEALTH IS A proud supporter OF THE FINE ARTS CENTER

Partnering with the communities we serve, Baystate Health extends the traditional defi nition of health to include economic opportunity, affordable housing, quality education, safe neighborhoods, food security, the arts/culture, and racism and homophobia free communities — all elements that are needed for individuals, families and communities to thrive.

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