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Suzanne Riess Interview with Robert Cole

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Suzanne Riess Interview with Robert Cole Oral History Center University of California The Bancroft Library Berkeley, California Robert Cole IN THE RIGHT PLACE AT THE RIGHT TIME! THE LIFE AND TIMES OF ROBERT W. COLE, UC BERKELEY’S CAL PERFORMANCES IMPRESARIO, 1986-2009 Introductions by Earl Cheit, Hollis Ashby, and Vladimir Kresin Interviews underwritten by Cal Performances Interviews conducted in 2012-2013 by Suzanne B. Riess Copyright © 2014 by The Regents of the University of California Since 1954 the Oral History Office of The Bancroft Library has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California, Cal Performances, and Robert Cole dated February 16, 2014. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. Excerpts up to 1000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited. Requests for permission to quote for publication should be addressed to The Bancroft Library, Head of Public Services, University of California, Berkeley, 94720-6000, and should follow instructions available online. It is recommended that this oral history be cited as follows: Robert Cole, “In the Right Place at the Right Time! The Life and Times of Robert W. Cole, UC Berkeley’s Cal Performances Impresario, 1986- 2009,” an oral history conducted in 2012 and 2013 by Suzanne B. Riess for Cal Performances, University of California, Berkeley, 2014. TABLE OF CONTENTS—ROBERT COLE WELL DONE, ROBERT! Introduction by Earl F. Cheit i THE ROBERT COLE PHENOMENON: Introduction by Vladimir Kresin v IT WAS A GREAT RUN: Introduction by Hollis Ashby ix INTERVIEW HISTORY by Suzanne Riess xiii INTERVIEW #1, November 12, 2012 1 Tape 1A: Family and early music exposure; jazz; Russian literature; marriage; air force band, choir director; studying orchestration by mail; studying music at USC; job directing band and orchestra, Tulare CA; North Hollywood High School orchestra; Michael Tilson Thomas; Ballet Society of Los Angeles; creative time in Los Angeles; a job with Buffalo Philharmonic Tape 1B: Sons, Alex and Monty; Arthur Mitchell’s Dance Theater of Harlem, and Shea’s Buffalo Theatre programming; bringing Merce Cunningham to Bardavon Opera House; experience in “running things”; Tanglewood conducting class, 1970, Leonard Bernstein; stepson Julian Wachner, conducting at Trinity Wall Street Church; job opening announced at UC Berkeley; Tri-Cities Opera, Binghamton; to be an opera director and conductor INTERVIEW #2, February 27, 2013 25 Tape 2A: Kuala Lumpur, and conducting ballet orchestras; Committee on Arts and Lectures under Betty Connors and faculty committee; Susie Farr’s years; recommendations of Cal Performances Review Committee; moving from music business to presenting business; first impressions of Berkeley; Donald Friedman an ally; Cal Performances staff; Ella Baff, the artistic side; Cole arrives September 1986, books 1987-1988; Mark Morris and manager system; 20th Anniversary of Stravinsky, Symphony of Psalms, a programming strategy; working with Dance and Theater Department Tape 2B: Cal Performances brochure designs; faculty committee includes Joe Kerman of Music Department; musicology credentials helpful; thinking about an early music festival; Music Before 1850 and other brochure programming categories; announcing First Berkeley Festival and Exhibition for June 1990; Alan Curtis’s scholarship; the Carmina Buranas; Hewlett Foundation support for Festival; Andrew Porter New Yorker review; scholarship vis à vis Dance and Theater Departments; Celebrating Merce Cunningham and John Cage, September 1989; use of Zellerbach Playhouse; Mikhail Baryshnikov and Robert Lepage INTERVIEW #3, March 13, 2013 51 Tape 3A: Rod Park and Student Musical Activities; solving Cal Band budget problems; going to a Bowl Game with Budd Cheit and the Cal Band; Robert Briggs, other SMA directors; Thursdays in Zellerbach for Berkeley Symphony; Herbert Blomstedt and San Francisco Symphony; Kent Nagano’s career, Gerard Mortier, and making connections; Davies Hall seats 3,000, Zellerbach, 2,000; initiating SchoolTime program, 1987 Tape 3B: SchoolTime children’s concerts, Cal Performances staff response; “I was from Mars”; Cultura sin Frontera series 1990-1991; Joe Papp and Festival Latino; Luis Valdez and El Teatro Campesino; Townsend Center takes a role; bringing to Berkeley the Grand Kabuki Theater, 1990; dressing rooms in Japanese star system; Laura Brehm, development director Tape 4A: Producer’s Circle initiated; lunches at the Claremont Country Club; Carol Upshaw joins the Advisory Committee; “We really need a board” and Budd Cheit agrees; the founding Cal Performances Board of Trustees; appreciating Gordon Getty’s interests; 1990-1991 recitals and chamber music; Alan Curtis brings La Schiava Liberata to 1990 Festival; working with Merce Cunningham, and staging Ocean in Harmon Gym Tape 4B: More on Ocean and the importance of Merce; Intercampus Cultural Exchange; Cecilia Bartoli at Berkeley, and her manager Jack Mastroianni; Bartoli’s career; ticket sales, motivating donors INTERVIEW #4, March 20, 2013 83 Tape 5A: West Coast cooperative ventures; Dean Corey, Philharmonic Society of Orange County; Leila Getz, Vancouver; Western Alliance of Arts Administrators; gestation of Einstein on the Beach project; orchestras on tour, and distinctive sounds; projects with Michael Tilson Thomas; sound, and where Robert Cole sits in the hall; talking about musical taste; Early Music America; interest in late Stravinsky; Susan Muscarella’s “great ears” Tape 5B: Oakland Symphony and Calvin Simmons; Hindemith’s Elementary Training for Musicians; contemporary music programming; Zellerbach Hall, impetus for electroacoustic sound system; Cole’s celebratory programming for Centennial 2006; John and Helen Meyer, Meyer Sound; Onstage Zellerbach, a brief experiment; replacing the seats, thanks to Bill Zellerbach; Robert Commanday and thoughts on the star system; comment on term limits Tape 6A: Mikhail Baryshnikov and Mark Morris, White Oak Dance Project, and Twyla Tharp; Theater and Dance Department’s Lorne Buchman; Jake Heggie a member of the staff; Family Fare programming; Death of Klinghoffer film at PFA; working with Peter Sellars, Mozart trilogy; Christopher Hunt; Sellars, John Adams, June Jordan collaboration Tape 6B: I Was Looking at the Ceiling and Then I Saw the Sky; Cole recommends his staff read the New York Times every day; Harvey Lichtenstein at BAM; a meeting with Joe Melillo; Pina Bausch on tour; BAM’s Next Wave Festival; Jane Moss, Ruth Felt; William Christie and Les Arts Florissants INTERVIEW #5, March 27, 2013 111 Tape 7A: Berkeley Festival and Exhibition; Joseph Spencer a good friend; more on Hewlett Foundation; Laurette Goldberg’s importance; the festival model, the fringe and the exhibition; Ojai North is a different thing entirely; Los Angeles difficult for a festival, star system; more on Musical Offering Café and the early music world; Carter Brey on baroque cello; musical performance and “every educated person”; French government brings Lyon Opera Ballet, 1997; Zellerbach Hall was the perfect space for the Lyon Opera Tape 7B: Chevalier Cole; launching the 1995-2006 decade; catholic tastes; finding Sasha Waltz in Germany; Zellerbach dining mezzanine inspired by Lyon Opera House; limited interests of some ISPA presenters; Cal Performances staff changes, PR director Hollis Ashby; vetting the Guangzhou Ballet, 2008; no vacations for Robert Cole; more on Mark Morris, Gerard Mortier, Dido and Aeneas; Composer Portrait Series bring Conlon Nancarrow, Gyorgy Ligeti; the savvy Berkeley audience Tape 8A: Robert Cole conducts Hard Nut, 1996, and Hard Nut over the years; Mark Morris with Yo-Yo Ma, Falling Down Stairs; more on friendship with Misha; building connections, thinking of Gerard Mortier, Helga Rabl-Stadler; Paul Taylor and Berkeley; the success of Platée, and the support from Vice-Chancellor Carol Christ; Romeo and Juliet, a very interesting story, and a part of Leon Botstein’s Prokofiev festival; challenge of hiring an orchestra for the Berkeley Romeo and Juliet, September 2008 Tape 8B: “It was a good time to retire” INTERVIEW #6, April 10, 2013 137 Tape 9A: Carol Christ and the Consortium for the Arts, making for great collaborations; “I never took a ‘vacation’”;
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