Epiphany: The CycleofLife

and ancientmythologies traditional Africanfolksongs, installation inpiredbythe An immersivechoral New York City Young People’s Chorusof Tibetan BookoftheDead, VisionIntoArt LOCATION: RUN TIME: DATES: #BAMNextWave #EpiphanyCycle 1hr (nointermission) BAM Fisher (Fishman Space) Doors andInstallationat7pm NOV 4—7at7:30pm

Frances Bermanzohn &AlanRoseman. at BAMprovided by: formusic Leadership support The TinMan Fund. providedby Additional support Rockefeller BrothersFund. in theBAMFisher providedby by NewYork Cityartists for programming Leadership support Music Sponsor. Viacom istheBAM2015 Season Sponsor: Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard Adam E.Max, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Alan H. Fishman, AcademyBrooklyn ofMusic BAM Fisher AMERICAN CONTEMPORARY MUSIC ENSEMBLE (ACME) Ben Russell & Caleb Burhans, violins Epiphany: The Cycle of Life Caitlin Lynch, viola Clarice Jensen, cello & artistic director

CONDUCTED BY David Cossin, Ibrahima “Thiokho” Diagne, & Ian Rosenbaum, percussion Francisco J. Núñez PROGRAM PERFORMERS ORIGINAL CONCEPT & VIDEO Passage YOUNG PEOPLE’S CHORUS OF NYC CONCERT CHORUS Ali Hossaini Vhiri reNgoro Francisco J. Núñez, Artistic Director/Founder Composed by Netsayi Chigwendere THEATRICAL CONCEPT & Tiffany Alulema Emma Higgins Maya Osman-Krinsky STAGE DIRECTION Epiphany Clare Altman Nyota Holmes-Cardona Ranya Perez Michael McQuilken Michelle Britt Bianca Jeffrey Jordan Reynoso COMPOSED BY Kelli Carter Olivia Katzenstein Elvira Rivera STORY DEVELOPMENT Paola Prestini Samuel Chachkes Zoe Kaznelson Sophie Saidmehr Nathaniel Bellows, Maruti Evans, LIBRETTO BY Nadine Clements Bethany Knapp Jeniecy Scarlett Michael McQuilken, Netsayi, Niloufar Talebi Louisa Cornelis Maria Kogarova Isabel Schaffzin Francisco J. Núñez, Paola Prestini, Brianne Cotter Gabrielle Kone Sarea Shariff Sarah Kirkland Snider, Intermezzo Scarlet Diaz Riya Koshy Natalie Shclover and Niloufar Talebi Jamila Drecker-Waxman Alyssa Koutellos Thalia St. Hubert COMPOSED BY Nola Dwyer-Hernandez Gabrielle Kuker Jacqueline Stern SCENIC AND LIGHTING DESIGN Netsayi Chigwendere Dea Elezaj Ayline Le Sourd Kaia Tien Maruti Evans Maggie Feldman Rebecca McCartney Theodora Tomuta LIBRETTO BY Netsayi Chigwendere Asila Folds Evelyn Menkes Erika Urgiles COSTUME DESIGN Celia Frank Joy Motz Caroline Watters Nicholas K Funeral Song Keerti Gopal Miki Nakano Kaila Wharwood Sugar for Your Wounds Naya Griles Jasmine Neal Cierra Willis PROJECTION DESIGN Kayla Norflus Brad Peterson The Light

SOUND DESIGN Ouroboros PRODUCTION STAFF Nicholas Pope COMPOSED BY Sarah Kirkland Snider PRODUCTION MANAGER ASSISTANT STAGE DIRECTOR Co-produced by LIBRETTO BY Sarah Peterson Anne Cecelia Haney VisionIntoArt and Young People’s Nathaniel Bellows Chorus of New York City STAGE MANAGER ASSISTANT STAGE MANAGER Catherine Costanzo Lauren Stern Developed at PERFORMED BY 3LD Art & Technology Center Young People’s Chorus of New York City PROPS MASTER PRODUCTION CARPENTER Francisco J. Núñez, Sydney E. Schatz Vadim Malinskiy Music Director and Conductor ASSOCIATE PROJECTION DESIGNER MASTER ELECTRICIAN with David Palmer Tom Dyer Netsayi ABOUT die, they leave a cord that connects us Part 3: Ouroboros to the numinous beyond. In creating Epiphany: the original video installation—also en- The “Ouroboros” is an ancient Hossani Ali Photo: titled Epiphany—Ali imagined a world symbol of a snake eating its own tail— The Cycle of Life where everything was full of grace, an emblem of rebirth and cyclicality, and, guided by several spiritual tradi- “the eternal return.” It serves as the PROGRAM NOTE tions, he began exploring that world inspiration for Sarah Kirkland Snider’s with a camera. Then, drawing from work by the same name, with text by An exuberant living installation filled the Latin Mass, the Tibetan Book of Nathaniel Bellows, which explores the with live music, Epiphany: The Cycle of the Dead, pre-Columbian Aztec poetry, struggle—and eventual freedom—that Life sends its audience through tunnels Zoroastrian beliefs, and death-bed con- arises from the self’s efforts to under- of light while reflecting on our earthly versations, librettist Niloufar Talebi en- stand, and transcend, the constraints attachments and our place in the visioned a story of transformations—of of the human world. Ouroboros is cosmos. Based on video cycles by Ali being released into the unknown. Paola visually focused on a grand view of our Hossaini (Epiphany and Ouroboros), Prestini then composed a modern majestic and unfathomable universe— Francisco J. Núñez, YPC Founder and requiem for Niloufar’s libretto—a new an extraordinary vantage that connects Artistic Director, conducts the Young musical world for the Young People’s the most massive supernova to the People’s Chorus of New York City, Chorus of New York City that will usher tiniest single-celled creature. joined by Zimbabwean singer Netsayi, us through that transformation. American Contemporary Music En- Director Michael McQuilken took semble (ACME), percussionists David the bountiful contributions from the Cossin, Ibrahima “Thiokho” Diagne, Part 2: Intermezzo creative team and wove them together and Ian Rosenbaum as they perform within a large-scale theater machine world premiere compositions by Paola Responding to the idea of Epiphany, that is patterned after the various Prestini, Netsayi, and Sarah Kirkland Netsayi reflected on her beliefs and stages of the afterlife Bardo passage Snider. This ecstatic and mysterious how they related to her music. She (as described in the Tibetan Book of hour of new music blossoms within a says, “To me, faith is about humility the Dead.) Ultimately, Epiphany: The vibrant and all-encompassing media and discipline, a commitment to a Cycle of Life is an affirmation of this and scenic installation. The perfor- single path. Therein lies freedom. Life extraordinary privilege called life. It is a mance consists of three parts, in Zimbabwe is very close to death. gathering into a shared moment of mu- Epiphany, Intermezzo, and Ouroboros. At the time of writing this music, I tual breath and contemplation. It is a attended a series of funerals, and this love song for the unknowable possibili- influenced my approach from respond- ties awaiting us in lives yet to come. Part 1: Epiphany ing to a concept to responding to the reality of my daily environment. Death Epiphany is a reflection on the endless is beyond our understanding. We free cycle of death and rebirth, told through ourselves by leaving the need to under- the eyes of youth. The event began as stand at the garden gate and stepping a reflection on mortality for Ali Hos- onto the path.” saini who was with his mother when she died. As she became less animate, her environment came alive. Brightly colored balloons were talking, she said. The walls were breathing. Many cultures believe that when our parents four continents, among them, invita- tions to represent North America at 3-Legged Dog American Contempo- the World Choral Summits of Kyoto in 2005 and Beijing in 2012. YPC is in 3-Legged Dog was founded in 1994 rary Music Ensemble Who’s residence at Jazz at Lincoln Center’s by a group of artists working at the (ACME) Frederick P. Rose Hall and was named Ontological-Hysteric Theater and has New York’s first radio choir by WNYC, become one of the leading experimen- The American Contemporary Music New York public radio. In 2011 tal arts groups in New York. Since its Ensemble (ACME) was honored by YPC was presented with the nation’s Who inception, 3-Legged Dog has performed ASCAP during its 10th anniversary highest honor for youth programs, a and exhibited at the Kitchen, the On- season in 2015 for the “virtuosity, National Arts and Humanities youth Young People’s Chorus tological, PS 122, La MaMa, the Sig- passion, and commitment with which program award by First Lady Michelle nature Theatre, and at its home, 3LD it performs and champions American Obama at the White House. ypc.org of New York City Art and Technology Center. Outside composers.” The flexible ensemble New York its work has been seen at comprises some of New York’s most Young People’s Chorus of New York the Venice Biennale, Prague Quadren- sought-after, engaging musicians City is a multicultural youth chorus VisionIntoArt nial, Click Festival, Sundance Festival, including violinists Caroline Shaw (win- internationally renowned not only for American Film Institute Festival, and in ner of the 2013 Pulitzer prize) and its superb virtuosity and brilliant show- Co-founded in 1999 by composer many other festivals. From the center Yuki Numata Resnick; violists Caleb manship, but as a model for an in- Paola Prestini, VisionIntoArt (VIA) in lower Manhattan, 3LD has built Burhans and Nadia Sirota; cellist and clusive society that is being replicated is a non-profit production company an unrivaled talent magnet, drawing Artistic Director Clarice Jensen; flutist globally. Founded in 1988 by Francis- dedicated to fostering collaborative, artists from around the globe to New Alex Sopp; pianist Timo Andres; per- co J. Núñez, a MacArthur Fellow, YPC interdisciplinary new music. VIA pro- York to create large-scale, immersive, cussionist Chris Thompson; and more. annually reaches more than 1,400 vides integral, comprehensive support and technology-driven artworks and ACME has recorded for New World, children from seven to 18 through its from fund-raising, commissioning, and experiences in New York City. 3-Legged New Amsterdam, and Butterscotch after-school and in-school programs. incubation to performance, record- Dog exists to produce new, original Records. Its recording of Max Rich- Its repertoire spans four centuries with ing, marketing, and beyond, VIA is works in theater, performance, dance, ter’s eight-hour piece, Sleep, will be works ranging from Renaissance and the sustaining force behind more than media, and hybrid forms. Working from released by Deutsche Grammophon in classical traditions to gospel, folk, pop, 100 original productions to date, with a strong literary tradition, its mission is fall 2015. The group’s 2015—16 sea- contemporary, and world music. YPC a portfolio that reads like a who’s who to explore the new narrative possibili- son includes performances presented has also contributed greatly to expand- of contemporary music, art, and such ties created by digital technology, to by BAM, the Sacrum Profanum Festival ing and invigorating the repertoire interdisciplinary fields as science and foster self-expression and skill in young in Krakow (Poland), Washington Per- for young voices in the 21st century conservation. VIA is currently in resi- artists through educational initiatives, forming Arts in DC, Dartmouth’s Hop- through its groundbreaking Transient dence as a laboratory partner at Na- and to provide an environment for kins Center, Five Boroughs Music Fes- Glory and Radio Radiance new music tional Sawdust. As New York magazine artists to create new tools and modes tival, Scandinavia House, and National series. Through these series alone, YPC observes, “You couldn’t ask for a better of expression allowing them to excel Sawdust. ACME’s dedication to new has commissioned and premiered over one-stop survey of what’s happen- across a range of disciplines. Through music extends across genres and has 80 compositions from the most distin- ing in new music now.” To document cooperative resource gathering and earned it praise from both classical and guished composers of our time, many and disseminate the company’s work, sharing, 3-Legged Dog pushes scale, rock audiences. ACME’s many collabo- of whom had never before written for 2014 saw the launch of VIA Records, cooperation, and community building rators have included the Richard Alston young voices. The “astounding virtuos- hailed by Q2 Music as “an essential with other artists as the most viable Dance Company, Wayne McGregor’s ity and palpable joy” (Wall Street new voice in the future of American course to survival and growth. Random Dance, Gibney Dance, Satel- Journal) of YPC performances inspires classical music.” visionintoart.com lite Collective, actress Barbara Sukowa, frequent invitations for collaborations filmmaker Jim Jarmusch, Grizzly Bear, and performances from a global array Low, Matmos, Jeff Mangum, A Winged of festivals and cultural institutions on Victory for the Sullen, Roomful of Teeth, Lionheart, and Theo Bleckmann. Paola Prestini and invited to New York, France, St Paul Chamber Orchestra, Stevie Wonder, Ziggy Marley, and Alicia The group has performed at leading performing live shows at NPR and Cel- Sao Paulo State Symphony, Sydney Keys. Diagne currently resides in New venues including Carnegie Hall, BAM, ebrate Brooklyn, among others. Netsayi Symphony, Gothenburg Symphony, York City where he continues to per- (Le) Poisson Rouge, Miller Theatre, the continued to develop her solo career as New Jersey Symphony, Hong Kong form with various artists and teaches Met Museum, Constellation Chicago, both composer and collaborator, work- Symphony, and the Singapore Sympho- percussion classes. Stanford Live, UCLA, Peak Performanc- ing with musicians, writers, video art- ny. Cossin ventures into other art forms es, Melbourne Recital Hall, Big Ears, ists, and dancers to craft and expand including sonic installations, which MARUTI EVANS and All Tomorrow’s Parties in the UK, her vision. Her music reveals wit and have been presented in New York, Scenic and Lighting Design among many others. poetry, by turns emotive, pensive, and Italy, and Germany. He is also an ac- energizing and always comes from the tive composer and has invented several Maruti Evans’ works include Else heart. Netsayi is clearly at the forefront new instruments, expanding the limits NATHANIEL BELLOWS Where and 21c Liederabend (BAM); of the new wave of African artists gain- of traditional percussion. Cossin is the Librettist—Ouroboros Witness Uganda, Alice vs Wonderland, ing global recognition. With a 15-year curator for the Sound Res Festival, an and Mouth Wide Open (ART); Master career as a leading Zimbabwean singer experimental music festival in south- Nathaniel Bellows works in the fields and Margarita (Bard SummerScape); songwriter, Epiphany: The Cycle of Life ern Italy and also teaches percussion of writing, visual arts, and music. He is An Oresteia (Classic Stage Company); marks Netsayi’s debut as an indepen- at Queens College in New York City. the author of three books: a collection Crowns (Goodman Theater); and Swee- dent composer. of poems, Why Speak? (W.W. Norton); ny Todd (Virginia Opera Company). He and two novels, On This Day (Harper- IBRAHIMA “THIOKHO” DIAGNE received the Drama Desk Sam Norkin Collins) and Nan: A Novel in Stories DAVID COSSIN Percussion award in 2013 for the designs of Tiny (Harmon Blunt). He lives in New York Percussion Dynamite and Pilo Family Circus and City. Ibrahima “Thiokho” Diagne was born Drama Desk nominations for In the David Cossin is a specialist in new and in Dakar, Senegal. Diagne is a member Heat of the Night, Slaughterhouse 5, experimental music. He has worked of the Bambara ethnic group originat- and Blindness. NETSAYI across a broad spectrum of musical ing from Mali, West Africa. Music and Performer and Composer—Intermezzo and artistic forms to incorporate new art are a rich tradition in Diagne’s ALI HOSSAINI media with percussion. Cossin has family, and from a young age he had Netsayi, the “Queen of Afrofolk,” Original Concept and Video recorded and performed internation- dedicated his life to mastering the has roots deep in the musical soil ally with composers and ensembles tabla drum. As a child, he perfected of Zimbabwe and an open-minded Ali Hossaini works at the cutting edge including the Bang on a Can All Stars, making his own drums from discarded international sensibility. Her original of art, technology, and business. His Steve Reich, Philip Glass, Yo-Yo Ma, goat skins and empty buckets and and distinctive sound has wowed audi- video installations have been exhibited Meredith Monk, Tan Dun, Cecil Taylor, invited his brothers and friends to play. ences around the world. Netsayi forged around the world, winning acclaim Talujon Percussion Quartet, and the In 1989, Diagne was introduced to a reputation performing a cappella in from Vanity Fair, Cool Hunting, and trio, Real Quiet. Numerous theater master sabar drummers M’Baye Faye London’s singer-songwriter clubs. She others, including The New York Times, projects include collaborations with and Lamine Faye of Dakar, and these went on to receive universal acclaim which calls him “a biochemist turned Blue Man Group, Mabou Mines, and were the first men to integrate Diagne for her two albums: Chimurenga Soul philosopher turned television producer director Peter Sellars. Cossin was into the Senegalese music culture and Monkey’s Wedding, (“refreshingly, turned visual poet.” Hossaini is CEO featured as the percussion soloist in with his inclusion into the bands Solo startlingly excellent,” raved Mojo). of Cinema Arts Network, a London- Tan Dun’s Grammy and Oscar-winning Cissoko and Kisito Band. In 2004, Following a 40-date UK tour support- based consortium that includes the score to Ang Lee’s film Crouching Tiger, Diagne became the lead percussionist ing Grammy award-winning legends Barbican, BFI Southbank, and arts Hidden Dragon. Cossin joined Sting for for Grammy award-winning, Angelique Ladysmith Black Mambazo, Netsayi venues around the UK. Outside the his world tour, Symphonicities, and has Kidjo, from Benin, with whom he returned home to Harare in 2010, UK, Hossaini works as a cultural plan- performed as a soloist with orchestras toured North America, Europe, Central where she established her band, ner who focuses on technology with throughout the world including the Los America, the Carribean, and parts of Black Pressure. In 2012 the band was current projects in Nigeria, Canada, Angeles Philharmonic, Orchestra Radio Africa. He has also performed with spotted by composer-artistic director and Texas. He is an associate of global consultancy Lord Cultural Resources. sioned by BRIC media art house), equality and diversity among children + Kelly); and Here Be Sirens (Morn- His next art project is Neurodiversity, a Theatre is Evil (a world-touring theatri- in today’s society. Núñez recently ingside Opera). Other projects include collaboration with autistic people and cal rock concert experience McQuilken created the Núñez Initiative for Social An American in Paris and First Date scientists to create a sensory model created for Amanda Palmer), Room No. Change through the Choral Arts, bring- (Associate Designer, Broadway) and of ASD (Autism Spectrum Disorder). 35 by Paola Prestini (commissioned ing together leaders in various fields Little Dancer (associate designer, Ken- by Krannert Center for the Performing to develop a strategy to promote social nedy Center). Upcoming work includes Arts), and Jib (an original play with advocacy for children to choral conduc- The Lion the Witch and the Wardrobe NICHOLAS K music that McQuilken wrote, scored, tors and music teachers across the (Stratford Festival), Empire: A New Costume Design and directed). McQuilken has been country. Núñez composes countless Musical (McCoy-Rigby/La Mirada), and commissioned by Ars Nova and The compositions and arrangements in all The Empty Space (off-Broadway). Nicholas K studied fashion design at Foundry to develop scores for two new musical formats and styles for choirs, Peterson is a graduate of the University the Fashion Institute of Technology in musicals in 2015 and 2016. He also orchestras, and solo instruments and of North Carolina School of the Arts New York City and at Polimoda School regularly makes music videos and short has been recognized with an ASCAP and a proud member of the United of Design in Florence, Italy. Upon her films with his film company, Q Motion Victor Herbert award and the New Scenic Artists, Local 829. return to the US, she took a position in Pictures. Additional composition work York Choral Society’s Choral Excellence menswear design at DKNY in 1996. can be found via McQuilken’s solo mu- award. ABC-TV has honored him as She joined the founding team of Coach PAOLA PRESTINI sic project, The Few Moments. He is a its “Person of the Week,” and most men’s sportswear the following year Composer—Epiphany directing graduate of the Yale School of recently, Fox News profiled him during and then was courted back to DKNY Drama. Hispanic Heritage Month for “chang- where she spent the next two years Paola Prestini is “the enterprising ing young lives with music.” In 2011 designing womenswear. She went on composer and impresario” (The New he was recognized with a MacArthur to launch men’s and women’s apparel FRANCISCO J. NÚÑEZ York Times) and “visionary-in-chief” of fellowship. for John Varvatos while at Nautica and Music Director and Conductor VisionIntoArt. Prestini’s compositions later consulted on nearly every other have been deemed “radiant...amorous- major American fashion brand, includ- Francisco J. Núñez is a composer, BRAD PETERSON ly evocative” by The New York Times, ing Calvin Klein, Tommy Hilfiger, and conductor, visionary, leading figure in Projection Design and “spellbinding” by The Washington Polo, before launching Nicholas K with music education, and the artistic direc- Post. She has been commissioned by her brother Christopher in 2005. tor and founder of the Young People’s Brad Peterson is a video and projec- Carnegie Hall, The New York Phil- Chorus of New York City, renowned tion designer based in New York City. harmonic, and Kronos Quartet, and worldwide for its diversity and artistic Recent work includes Fish in the her newest projects include an opera excellence. Since he founded YPC in Dark (Broadway); Carousel (Strat- with director Robert Wilson, Two Oars, 1988, Núñez has changed the percep- ford Festival); Labyrinth: Room No. based on Hemingway’s The Old Man MICHAEL MCQUILKEN tion of the capabilities of a children’s 35 (VIA/BMP/Krannert); Soul Doctor and the Sea to premeier at Opera Aus- Theatrical Concept and Stage Direction chorus, dramatically heightening an (off-Broadway); Encounter (BMMF, tralia in 2018; Labyrinth: Installation awareness of the unlimited ability of NCPA—Beijing); This Takes Place Concertos at the Isabella Gardner Mu- Michael McQuilken is a Brooklyn- children to rise to unforeseen levels of Close By (thingNY); The Wiz (Maltz Ju- seum; The Hubble, a cantata commis- based director, writer, filmmaker, artistry. He also leads the University piter); On the Town (Merry-Go-Round sioned by Bay Chamber Concerts with and composer. Recent directing work Glee Club of New York City, its fifth Playhouse); The Little Mermaid (NC astrophysicist Mario Livio to premiere includes Epiphany, Angel’s Bone (a conductor since the all-men’s cho- Theater); Big Fish and Oswald (Casa at Los Angeles Philharmonic; 21c Lie- world premiere opera at Prototype), rus was established in 1894, and is Mañana); The Mountaintop (Gulf- derabend (BAM 2013); Gilgamesh, a October in the Chair (American Theater sought after nationwide as guest con- shore Playhouse); The Qualification of new opera with Michael Counts, Cerise of Actors, NYC), and Distraction is the ductor by professional orchestras and Douglas Evans, Enter at Forrest Lawn, Jacobs, and Beth Morrison Projects Devil (a world-touring narrative rock choirs, master teacher, and frequent and The Cheater’s Club (The Amoral- to premiere in Boston; a residency at show performed by McQuilken’s band, keynote speaker as a leading author- ists); Broadway Bares 23/24/25 (BC/ Park Avenue Armory/Watermill Center Odysseus Finn). Past work includes ity on the role of music in achieving EFA); Kiss Solo and Timelining (Gerard for Aging Magician with the Brook- Cassandra (an original play commis- lyn Youth Chorus, commissioned by Adams’ evening-length percussion Knights, Ensemble Signal, and many sioned by the Los Angeles Children’s the Walker Arts Center and Krannert quartet Strange and Sacred Noise, the others. Her “ravishingly melancholy” Chorus and premiered at Stanford Center; The Colorado, an eco/film premiere of Epiphany at BAM, and the (The New York Times) debut album, Live. Talebi is the recipient of grants, cantata to premiere at the Metropoli- debut tour of Music Haul, a mobile the orchestral song cycle Penelope awards, and residencies including the tan Museum of Art and Houston’s Da concert hall created by the Yellow (2010) was named to dozens of National Endowment for the Arts, San Camera series; and Mass Reimagin- Barn Chamber Music Festival. This top-10 lists internationally, and she Francisco Arts Commission, and the ings, a new choral work commissioned season, Rosenbaum will also curate a recently released Unremembered, a James Irvine Foundation. Her work by Trinity Choir with libretto by Brenda series of programs at the new Brooklyn 13-part orchestral song cycle for vocal- has been published in World Literature Shaughnessy and visuals by Anne venue National Sawdust. Rosenbaum ists Padma Newsome, D.M. Stith, and Today, PBS Frontline, ArteEast, Poetry Patterson. Prestini studied with Samuel is a member of Sandbox Percussion, Shara Worden (an “intricately magical International, Rattapallax, Two Lines, Adler and Robert Beaser while at The HOWL, and Pittsburgh New Music landscape”—Justin Davidson, New Harvard Divinity Bulletin, and Mother Juilliard School where she was a Paul Ensemble. He has recorded for the York magazine) on New Amsterdam Jones. and Daisy Soros fellow. In 1999, she Bridge, Innova, Naxos, and Starkland Records, a label she co-directs with co-founded VisionIntoArt, an inter- labels and is on the faculty of the William Brittelle and Judd Greenstein. disciplinary production company that Dwight School in Manhattan. Rosen- Sarah has an MM and artist diploma has created over 100 productions baum endorses Vic Firth sticks and from the Yale School of Music and a worldwide. She is currently executive- mallets. BA from Wesleyan University. creative director of the new Brooklyn- based venue and non-profit, National SARAH KIRKLAND SNIDER NILOUFAR TALEBI Sawdust. Prestini’s awards include the Composer—Ouroboros Librettist—Epiphany ASCAP Victor Herbert Award and the Paul and Daisy Soros fellowship. Recently deemed “among the bright- Niloufar Talebi is a writer, librettist, est lights to emerge in recent seasons” award-winning translator, and multidis- IAN ROSENBAUM (Time Out New York) and “a potentially ciplinary artist whose work has been Percussion significant voice on the American mu- described as “elegant” by The New sic landscape” (Philadelphia Inquirer), York Times, and “visionary” by Opera- Praised for his “excellent” and “precise- composer Sarah Kirkland Snider vore. She is the editor and translator ly attuned” performances by The New writes music of direct expression and of Belonging: New Poetry by Iranians York Times, percussionist Ian David vivid narrative that has been hailed Around the World (North Atlantic Rosenbaum has developed a musical as “rapturous” (The New York Times), Books, 2008), and creator-performer breadth far beyond his years. He made “haunting” (The Los Angeles Times), of Four Springs (2004), Midnight Ap- his Kennedy Center debut in 2009 and “strikingly beautiful” (Time Out proaches (2006), Icarus/Rise (2007), and later that year garnered a special New York). The 2013 winner of the and The Persian Rite of Spring (2010). prize created for him at the Salzburg Detroit Symphony Orchestra’s Elaine Her libretti include Atash Sorushan International Marimba Competition. Lebenbom Memorial Award, Snider has (Fire Angels) (2011), a song cycle Rosenbaum joined the Chamber Music received commissions and performed co-commissioned by Carnegie Hall, Society of Lincoln Center’s CMS Two internationally with San Francisco Cal Performances, and the Atlanta program in 2012 as only the second Symphony, Detroit Symphony Or- Symphony Orchestra; The Investment percussionist selected in its history. chestra, Residentie Orkest Den Haag, (2014), an opera commissioned by He has appeared at the Bay Cham- North Carolina Symphony, Indianapolis Washington National Opera’s Ameri- ber, Bridgehampton, Music@Menlo, Symphony Orchestra, National Arts can Opera Initiative; The Disinherited Norfolk, and Yellow Barn festivals. Centre Orchestra, violinist Anne Akiko (2014), an opera developed with the Highlights of the 2015—16 season Meyers, percussionist Colin Currie, American Lyric Theater’s CLDP; and include a performance of John Luther vocalist Shara Worden, yMusic, the The Plentiful Peach (2015), commis- Katharine Gibson, Communications/ VisionIntoArt Marketing Specialist Thanks! Angela Duryea, Public Relations Coordinator STAFF Christopher Hall, Internet and Multimedia VisionIntoArt is proud to be in residence as Paola Prestini, Executive Director Intern a laboratory partner at National Sawdust, Courtenay Casey, Managing Director Shuman Associates, National Press an Opera America Professional member, Natalia Schwien, Label Director & Director Representative and former participant in DeVos Institute of Communications of Arts Management Professional Develop- Bryan Nebel, Associate Producer YPC BOARD OF TRUSTEES ment Program with the Kennedy Center and Jessica Kiger, Project Manager Adam D. Chinn, Chair BAM. VIA is supported, in part, by public 21c Media, Press Representatives Philip H. Lovett, Vice-Chair funds from the New York City Department of Deborah McManus, Co-Vice-Chair Cultural Affairs in Partnership with the City BOARD OF DIRECTORS Randall Rose, Co-Vice Chair Council and New York State Council on the Liane Fredel (Director & Producer of Francisco J. Núñez, President Arts with the support of Governor Andrew happylucky no.1) Vikram Atal, Treasurer Cuomo and the New York State Legislature. Elizabeth Madigan Jost (Managing Francis J. Harvey, Jr., Secretary VIA is extremely grateful for its supportive Director, Morgan Stanley) J.B. Harrison board and friends including VIA Board Sarah Johnson (Director Weill Music Insti- Martin Kehoe Chair Jill and Bill Steinberg, the D’Avino tute Carnegie Hall) Suzan Kremer Family Charitable Gift Fund, and Kevin Paola Prestini (Composer, Co-Founder & Andrew Lerner Dolan. Finally, this project would not have Executive Director of VisionIntoArt) Felicia E. Lipson been possible without a generous gift from Jill Steinberg (Photographer, VIA Board Robert Neis Melville and Leila Straus. Chair) George G. Nemeth Diane Volk (Arts Advocate, Lawyer) Hiroko Onoyama Epiphany: The Cycle of Life received project Dusty Philip support from Melville and Leila Straus, Jill Bruce Rosenblatt and Bill Steinberg and is made possible, David Weild III in part, by public funds from the New York Young People’s Chorus Beth Whitman City Department of Cultural Affairs in Part- Jeremy Wladis nership with the City Council and New York of New York City A. Jerry Kremer, Chairman Emeritus State Council on the Arts with the support of Holcomb B. Noble. Emeritus Governor Andrew Cuomo and the New York Francisco J. Núñez, Artistic Director/ Nancy Bloom, Ex-Officio State Legislature, and also by the Howard Founder Evan Trost, Alumni Representative Gilman Foundation. Elizabeth Núñez, Associate Conductor Philip S. Olick, Counsel Nancy Bloom, Executive Producer Epiphany: The Cycle of Life was Lindsay Bogaty, Concerts and Events The Young People’s Chorus of New York developed at 3LD Art & Technology Center. Coordinator City (YPC) is supported in part by public 3ldnyc.org Caitlin Henning, Assistant Conductor funds from the New York City Department of Maria Peña, Assistant Conductor Cultural Affairs in partnership with the City Kari Francis, Conducting Fellow Council, the New York State Council on the Sonny Willis, Conducting Fellow Arts with the support of Governor Andrew Jon Holden, Pianist Cuomo and the New York State Legislature, Kerry Allen, Wardrobe Coordinator and the Howard Gilman Foundation. Christina Malhotra, Director of Special Projects Leah Maddrie, Grant Manager/Writer Natalie Nachimson, Development and Events Coordinator Elena Ryabova, Development Associate Ronald Chronister, Executive Director of National Initiatives Emma Grettenberger, Education and Volunteer Coordinator Howell Núñez, Executive Administrator Shirley Delgado, Office Manager Jerry Fillhart, Finance Manager Photo: Ali Hossani Ali Photo: LIBRETTO—EPIPHANY Where will I go? Oblivion? Will we see you again? Do not cling By Niloufar Talebi Will anyone know I lived? Do we vanish as the clouds? Journey forth Will I have been a small being Are we only a spirit echoing in eternal Gloria On the vast prairie of dreams? time? SOLOIST(S): Must I go SOLOIST(S): CHORUS (vigilers): Libera me In the middle of things? All the days of my life Your time has come It comes With such speed go by Do not be afraid SOLOIST(S): I brace it alone If not for a teacher or two You are not alone I, electric animal Help me I would not have known what to do Everyone dies Dust of the universe Born into a species against itself CHORUS (beloveds/mourners): CHORUS (vigilers): SOLOIST(S): Bound by my gadgets You are not alone O life! Zoë! Why? Where will I go? We’re here Life full of color Whether a common soul Longstanding temple of fire Bardo / Between A saint, a martyr, idol CHORUS (vigilers): Ignite it! For dancing flames A hero warrior If you fear dying across the lands SOLOIST(S): Comet in the starry sky Devils tear at you If not, darkness abounds I look from my open door My best I hope I did try. If you make peace Darkness of your own doing abounds At mothers fathers and more I beg you withhold your reckoning Angels free you Childhood floods in I thought I was learning to live To live as if immortal Moments burst EMA HOH! But to have only this breath In the bare hour of flight. Untether me The peaceful between dawns That evaporates We shall live nevermore Deliver me The spirit flies! Here, now I will hold your hand ashore Dissolve me into my diamond self Requiem Gloria vitae / Glory to life Hold me tight How I will miss everything In the bare hour of flight I am in love with this world CHORUS (beloveds/mourners): SOLOIST(S): Cradle the nest at threshing time But I am ready Is this it, the season of our lives? My self melts and I fade We sit with swollen hearts Mem’ries blur CHORUS (vigilers): Release me / Libera me Grieve we will Remember how I played across From this brief burst memememememememeMamamama- In our earthly ways. bewildering time Between unknowns mamamamamamamamamamama... I recall the quiverings now You cross into the next Lacrimosa dies illa / Tearful will be the That once enraptured, even now Noble one! CHORUS (vigilers): day I said I would run in the snow The gnashing fangs and glassy eyes Kyrie eleison / Lord have mercy Oh what if I can’t rise and go? You see are not real CHORUS (vigilers): Those pure lands are not anywhere Dies Pacis or The Great Liberation You can go! Mysterium Tremendum But in your own heart Dissolve in rainbow light Do not be consumed by them CHORUS (vigilers): Incandesce to smithereens The soft white light of the gods SOLOIST(S): Recognize them as projections of your Pass through mountains Soft red light of the titans It is my time. terrified mind Circle the universe Soft blue light of humans Though I charted myself to life’s matrix Let go and liberation is instantaneous! Rest in empty luminosity Soft green light of animals On a treadwheel of airs and theatrics In final transparency Soft yellow light of the pretans As razzle-dazzle flashing lights dim CHORUS (beloveds/mourners): In nakedness And the soft smoky light of the hells I brace it alone awe-struck and grim Where will you go? Dawn one after the other Requiem aeternam dona eis / Grant (Nahuatl): poetry, and Buddhist guidance in the the original name of what we call the them eternal rest Zanio in xochitl tonequimilol Tibetan Book of the Dead: Tibetan Book of the Dead (which liter- et lux perpetua luceat eis / and let Zanio in cuicatl ic huehuetzin telel in a. Soloist(s) (the dying): their most ally translates into, The Great Libera- perpetual light shine upon them nepapan xochitla distilled personal thoughts and con- tion Through Hearing in the Between Requiem aeternam / Eternal rest Tiazque yehua on ahuiacan. cerns. State, referring to helping the dying Lux aeterna luceat eis / May eternal Niquittoa o ni Nezahualcoyotl. b. Chorus (beloveds and mourners): let go by whispering prayers into their light shine upon them Huia! Cuix oc nelli nemohua o a in grief and loss experienced by loved ears). Gloria vitae / Glory to life tlalticpac? ones. Et in terra pax hominibus bonae volun- Yhui. Ohuaye. c. Chorus (priests and vigilers): 6. Pretan (definition): In Buddhism, an tatis / And peace to people on earth instructions and vigil for the dying unresting ghost tortured incessantly by Amen / Amen Grace / Khvarana adapted from, among other sources, hunger and thirst. Robert Thurman’s translation of and Credo or Memento Mori CHORUS: supplementary writings on the Tibetan 7. Ema Hoh! Is the Tibetan expression Do not let the bird of grace Book of the Dead, the lyrical body of and Sanskrit word conveying the joy SOLOIST(S) & CHORUS: Fly away from you. 14th-century Aztec poetry on life and and wonder of reaching realization, Living souls, awake into imperma- The dead once lived in their own way death, and conversations with inter- the Aha! moment, the jewel in self- nence! We must release them, let them go. faith and alternative hospice caregivers, discovery. Essentially the expression of All goodness and wisdom is I still see you everyday. notably with Dr. Megory Anderson of an epiphany. In every atom and instant You live in my laughter and tears. the Sacred Dying Foundation. Right here right now. I have written your name 8. Memento Mori (definition): Tomorrow we all depart on everything. 2. Mysterium Tremendum refers to the Remember your mortality. A floating dandelion whisked apart Awe and Fear of the Mystery when Open the windows to the world again faced with death. 9. Almost all of the text sung by vigilers Everyone passes Outside is quintessence are adapted from the Cantares Mexi- Into the land of the unknown. Live your life, live your life, 3. Bardo is the Tibetan term for a be- canos, and Romances de los Señores We are like the rose live your life tween stage, of which there are many, de la Nueva España, two essential Blossoming into the earth including the stage after dying and compilations of pre-Columbian Aztec Seeds for a new life Antilamentation before entering another life. poetry on life and death, originally in the Nahuatl language, all called Find your indivisible self SOLOIST(S): Do not stand at my grave and weep. 4. “Libera memememamama” a word Flowersongs. They are commonly Play your indivisible divine-like heart play on the Latin phrase, “Libera Me,” performed as call-and-response poems. That blossoms again and again. I am not there, I do not sleep. I am a thousand winds that blow. the added Mamama being the sound I consulted translations by John Curl, of reaching for the source, the univer- among others. Flowersongs / Xochicuicame I am the diamond glints in the snow. Do not stand at my grave and cry: sal Mother, where we came from and CHORUS (Vigilers): I am not there, I did not die. where we return to. 10. In Zoroastrian belief, Khvarana Behold! Let there be gems! (Sanskrit) is a person’s state of grace, 5. To alloy a new, secular requiem, I their highest calling. Rather than con- Our flowers! EPIPHANY modified a few key Latin and Greek cretely suggest reincarnation (Tibetan Flowers are our only garments LIBRETTIST NOTES: Only songs make our pain subside phrases from the Latin Mass. For Buddhism) or heaven/hell (Christian- example, in the title, Dies Pacis or The ity), I suggest a different kind of return/ We do not live forever on earth 1. My aim was to structure and write Great Liberation, rather than using the thereafter. Even jade shatters a text of a dying person’s journey. To title of the longest section of the Latin Even gold will crush chart an atlas of this world, I interwove Mass “Dies Irae / Day of Wrath,” I 11. Antilamentation is adapted from a Even shining feathers tear three separate narratives overlap- modified it to mean, Day of Peace, and longer poem by Mary Elizabeth Frye. Only for a fleeting moment do we ping and departing from the Christian coupled it with “The Great Liberation,” endure! Latin Mass, pre-Day of the Dead Aztec the partial title of the Bardo Thodol, — Niloufar Talebi © 2015 LIBRETTO—INTERMEZZO Oh, understand him in your lifetime an inward turning shape. There’s a funeral in this town every day Or, how will you recognise him? I saw the curving spine Composed by There’s a funeral in this town every day Oh, understand him in your lifetime I heard the jaw release Netsayi Chigwendere The instruments a-jingle, To recognise devouring itself Libretto by While the choir sings in the rain Hiye-hoi-ye an endless hungering Netsayi Chigwendere There’s a funeral in this town every day I am Luminosity Shimmering The scales split under fang Funeral Song There’s a funeral in this town every I am free the gag and pull of throat Sugar for Your Wounds hour Shimmering what once was out The Light There’s a funeral in this town every Like water to the seed now goes in hour and sunlight to the leaf the tail the tongue Funeral Song The wake is in the darkness, an ending is the lead engulfed Coz there’s no electric power these roots to nourish me There’s a funeral in this town every But there’s a funeral in this ghost town so infinitely holy A sun bestows its heat week every hour as mother begins me a whorl of stars its ice There’s a funeral in this town every so Father completes me rings will ring it round week Sugar for Your Wounds He is my breath in bands of stone in flight. Coz nothing lasts forever and holy You sang the song of life And forever is for keeps Everybody wants to know the underpin of death There’s a funeral in this town every What is love? LIBRETTO—­­­­ OUROBOROS­ joined in seamless cloth week Why the earth spins on its axis? So By Nathaniel Bellows that wrap us all like breath In the end there will be silence There’s a funeral in this town every Don’t be blinded Ouroboros What distance from week Coz the stone that the builder refused this place we know? There’s a funeral in this town every could be the cornerstone. Does this mean What world beyond week One step on the long road there is no end? this cobalt globe? From the grand old spectacle of life Out of the valley of dry bones. A life will fold Where time unwinds Now, the actor finds relief For every measure in the race, as time extends where pain is eased There’s a funeral in this town every And all the hardships that we face. I stand above and life repeats week Quote the golden rule it’s sugar the world you’re in in wreaths of leaves For your wounds. a loss a life There’s a funeral in this town every day What is hateful to yourself regained again Should I believe There’s a funeral in this town every day Do not do to your fellow man. you will return? The ceremony’s over And what we fail to comprehend Can you find me The loyal dove And the band are on their way May not be ours to understand. where you are? the ruined fern There’s a funeral in this town every day Outside the earth a coiled cord The Light beyond the stars arrive return There’s a funeral in this town every the ring of clouds oh wondrous way week Shimmering rainbow the serpent’s arc all circular There’s a funeral in this town every Now I dissolve the ancient child week Where spirit dwells to stop to start There’s only VIPs left, In radiant light Ex-Prime Ministers and chiefs My Lord takes delight It had no need for eyes There’s a funeral in this town every The light, the light, the light... no ears no foot or face week Listen it moved within itself Photo: Ali Hossani Ali Photo: BAM

the Virginia B. Toulmin Foundation

for its support of women composers in the Next Wave Festival Salutes