February 2006 2006 Spring Season

. Clayton Brothers, Spring Time Fresh, (detail) 2006

BAM 2006 Spring Season is sponsored by: Bloomberg ENCOREThe Performing Arts Magazine I ~AMbili Contents Feb 2006

The Month of Mark! 24 Mark Morris Dance Gro up ce lebrates 25 yea rs by Susan Yung

Eat, Drink & Be Literary Mark Morris Dance Group in Going Away Party The second series of read ings Photo, Rosalie O'Connor and food in BAM cafe by Peter Kobel 27

The Importance of Being Earnest Si r Peter Hal l directs Oscar Wil de's gem by Peter Kobel 28

Program 35 James Waterston and Lynn Redgrave in Upcoming Eve nts 45 The Importance of Being Earnest BAM Di rectory 46 Photo, Craig Schwartz Cover Artists

Rob and Ch ristian Clayton grew up in Aurora, CO, and graduated from Art Center College of Design in Pasadena , CA in 1988 and 1991. Both concu rrently served on the faculty at Art Center and now lecture worldwide. Their book, The Most Special Day of My Ufe, was published by La Luz de Jesus Press in 2003. In 2004, the Claytons exhibited with Mackey Gallery in Houston, TX and at Art Statements, Art Basel Miami Beach. Th eir work is in many public collections including The Madison Museum of Contemporary Art (Madison, WI) where their installation Tim House will be on view in April , 2006. Th e Clayton Brothers' next solo exhibition will be at Bellwether (New York) in May 2006. Rob and Christian Clayton are brothers and collabora­ tors, and the best of friends. Collectively they work as the Clayton Brothers, Cover, Clayton Brothers, producing dynamic, improvisational , yet purposeful and humane paintings, Rob Clayton and Christ ian Clayton installations and mixed-media works on paper. The Clayton Brothers' Spring Time Fresh, 2006 Mixed media on canvas approach to art-making is a collaborative process: one brother begins a 60" x 84" painting, then hands it off to the other, then back again, and so on. Their art is narrative, autobiographical , uncanny, and intuitive, culled from the secret For BAMart information: 71 8.636.4101 language of shared childhood and sprinkled with the sour irony of truth. [email protected] Rather than nostalgic musings about youth, the Clayton Brothers' recollec­ tions of the past are revealed through the tainted lens of adulthood. Their images speak through illuminated memories; visual vernaculars lifted from folklore, mythology, urban legend , sound bytes, and info-graphics. 23 Mark Morris Dance Group

March is the Month of Mark

By Susan Yung

If you know a little bit about Mark Morris, then you probably know that his love of music is plainly evident in his choreography. You might also know that it's imperative for him to use live music in performances. This March BAM marks the 25th anniversary of the Mark Morris Dance Group with six programs jam-packed with Morris' earthbound, joyous, finely-crafted dances to live music; nods to music's fundamental significance to Morris; plus related discussions and surveys in the genres of film and visual art. Morris explains the criteria for inclusion in the 'Month of Mark': "Here's the rule: I have to like it. That's the rule for the movies, and the music, and my shows." Fair enough.

At the core of the celebration are three programs of larger ensemble works-a kind of Hall of Fame for Morris' oeuvre-in BAM's Howard Gilman House. A highlight is Morris' conducting debut, in which he will lead the MMDG Music Ensemble in Vivaldi's Gloria on Mar 8-11 as his company dances. "If you love music, you think you might be good at being a conductor," Morris reasons. De­ spite his thorough familiarity with the Vivaldi score-he pores over the scores for all of the music he choreographs to-Morris is anxious. "It's quite nervous-making, and exciting, and daunting. There'll be friends of mine playing in the pit, and on the stage, and I know the piece inside out, but I don't want it to be fake. I want to actually influence what's going on. So I've been working on it, and it's very exciting." He has been preparing with renowned conductor Stefan Asbury, as well as with the acclaimed British conductor Jane Glover. The program is completed by the recently-minted classic V (Schumann) and the beloved Grand Duo (Lou Harrison), a primal tour de force that builds to an exuberant finale.

24 Mark Morris Dance Group

Gertrude Stein's Four Saints in Three Acts, set to music by her friend Virgil Thomson , and Dido & Aeneas , a signature Morris production to , comprise the second program. Morris' memorable performances in the dual roles of Dido and The Sorceress epitomized his forceful stage presence. And while he won't be performing them in March , he will reprise his brilliant rendition as a determined flamenco dancer in From Old Seville in three intriguing slates of smaller-cast works to be performed in Mark Morris Dance Center's studio theater across Lafayette Avenue. "Some are very old pieces, and it's been an independent study thing. Everybody's been doing one or two of these solos, duets, and trios. People have been working on them for months and months to lea rn them, and then I coach them ," Morris notes. He adds praise for his dancers. "My company is so great. They're fabulous dancers, and they're all pretty nice and smart.

Th e third BAM program dem­ onstrates Morris' omnivorous musical appetite. It includes two New York premieres: Cargo, for nine dancers, to La Creation du Monde by Milhaud ; and Candleflowerdance , a sextet to Stravinsky's Serenade in A. g Rounding out the program are c: o u All Fours (Bartok) , a striking b ~ study of contrasts, and the ~ o 0: jaunty, bittersweet Going Away Party, with songs performed live by New York-based Western Caravan.

No venue at BAM will go un­ Marked. BAMcafe is bringing in some of his favorite musical artists and genres, such as Seattle's Mary Sherhart, a vocalist specializing in Bulgarian songs. "The MMDG Music Ensemble is playing an evening or two of Lou Harrison's music and stuff. I'm hosting a karaoke evening, and I want everybody to sing," Morris says. What will he pick to sing? "I like to sing 'EI Paso', that Marty Robbin s song. But I don't know, we'll see. It could be a surprise."

Morris, who selected some of his favorite films to screen in BAM Rose Cinemas, explains his choices. "People think that if you're a choreographer, all you're interested in is dancing. That's just dumb to think that. So, the movies are from different periods, for different reasons, and they're favorite movies of mine. "

"The 5000 Fingers of Dr. T is a movie I just can't believe is not a huge smash hit. It's so beautiful and intelligent. George Romero's Martin- no one's ever seen it. It's a very rare movie ... really strange, 25 Mark Morris Dance Group

- , l,;"" - " Y I .., "",...... lP\Vv..IIJ," \ Th~~e. It fA La. a: fOu~ It \JID ODO\V F~ AW A t/tVtft 'Ktlt'IJ Al30uT Ir (j-R t eN , A~D THey NeVep. t'tVtp-- J(New Af>0UT IT· ~ SAIN1lwT 1(y~"T1u.s A 1 III nte t"pRt-J 1ti5 ro BE CHA /ANgE D fr\°M tHe 114 M0tJINf's-.f HAVitJ6- HAF\Pf"11¥ M~pjfD OlfCE IN A V#llt ONCe, 11'1 A WWHllt aNCe IW IN A WHILe. 0NCf AA WftILe. oil . S tte 4~ I,jfJjit>-;:u..

funny, sca ry, and very non-Transylvanian. It's a great movie, and I hope people like it. And Cabin in the Sky, which was co-choreographed by George Ba lanchine and Katherine Dunham. It was a big budget, all -Negro musica l movie. It's fantastic." Greed (Erich Von Stroheim) and Nashville (Robert Altman), are also on the film docket, plus Morris' appearance on Sesame Street, and other un ique finds.

Photos by Katsuyoshi Tanaka of MM DG will hang in BAM 's Natman Room (Mar 3-28), while Tom Brazi l's performance photographs of the troupe's 'early years' can be seen at DTW (Feb 17- Mar 5). Portraits of Morris by more than a dozen artists will be exhibited at Furman Ga llery, Lincoln Center (Ma r 2-27). In addition , severa l discussions are planned . In a BAMtaik (Mar 6), Ma rk Morris, Isaac Mizrahi, Robert Bordo, and Maira Kalman will share thoughts on collaboration. On Mar 22 in a pre­ performance BAMdialogue, New Yorker music critic Alex Ross speaks with Morris. Also, Morris will have a conversation with Laurie Anderson at the Rubin Museum on Ma r 5.

In one of these co nversations, Morris might elaborate on his process of creating a new dance. "I always start with music that I have to love. Either I've been listening to it for many yea rs, or I just found it, and am studying it. I'm working on a big piece with some Mozart music, so I've been listening and thinking about this stuff for months, and I just started making it up. That's how it works. All the ideas I have are based on listening and studying the music, and then I have the relative luxury of having a fUll-time fabu lous dance company at my disposal, and this wonderful building, so I make stuff up in the room, on the spot... not just improvisi ng, but based on what I've been figuring out." ,.

Additional Month of Mark details on the Upcoming Events page in this BAMbill, and at BAM .org and MMDG.org.

26 Eat, Drink & Be Literary Food for Thought

By Peter Kobel

The "Eat, Drink & Be Literary" series, presented by BAM and the National Book Awards, continues in March with an illustrious roster of writers. The events kick off at 6:30pm with live music, wine (from Napa Valley's Pine Ridge Winery) , and a gourmet buffet din­ ner in the BAMcafe by executive chef Carlos Baca. At 8pm, the authors read from their works, participate in a dialogue with the moderator, and answer questions from the audience. "The atmosphere is communal, convivia l, and comfortable," notes Joseph V. Meli ll o, BAM's executive producer.

John Sayles (Mar 16) is perhaps more widely known as the director of films such as Lone Star and Matewan. But he is also a noted fiction author whose achievements include Los Gusanos and The Anarchist's Convention and Other Stories. Raised in the Dom inican Republic and currently teach ing at Middlebury College in Vermont, Julia Alvarez (Apr 16) has written poetry, essays, child ren's books, and novels, including How the Garcia Girls Lost Their Accents. Jonathan Lethem (Apr 20) is well known to Brooklynites, as two of his celebrated novels-Motherless Brooklyn and The Fortress of Solitude- are set in th e borough. His most recent work is an autobiographical co llection of essays, The Disappointment Artist.

Mary Gaitskill's (May 18) recent novel, Veronica , was a finalist for the National Book Award. The New York Times sums up her style: "Sentence by sentence, [she] charts the twists and turns of emotion and desire, in fanatical ly analytical prose that zips along in a fever of self-con­ sciousness that would seem loony if her observations weren't so sane." She teaches creative writing at Syracuse University. Nicole Krauss (June 1) describes her second novel, The History of Love , as "a book about the way in which books can change people's lives."

"The writers were selected from among the best fiction writers in the U.S. ," says Harold Augenbraum , National Book Awards execu­ tive director, "with an eye toward va rious types of diversity, including styl istic and cu lturaL " Play­ wright and novelist Jessica Hagedorn moderates these events. Born and raised in the Ph ilippines , Hagedorn's critica lly acclaimed novel Dogeaters was nominated for a National Book Award .

The Shakespeare & Co. BAMshop wi ll provide the authors' books for purchase and signing. "Eat, Drink & Be Literary" will also hold book drives at each reading to benefit local charities. Bring books for donation to the BAM lobby prior to the event. _

27 The I mportance of Being Earnest What's in a Name? Everything and Nothing

By Peter Kobel

Oscar Wilde's comedy of manners The Importance of Being Earnest is widely considered one of the greatest plays in English. But all classics tend to gather dust from our dutiful admiration. But with a brisk whisking off, Sir Peter Hall 's version of Earnest comes to life as both serious and deeply funny. Currently being staged in Los Angeles, it will run at BAM on selected dates from Apr 18 through May 14.

Speaking from her dressing room the afternoon after its initial performance in previews at Los Angeles' Ahmanson Theatre, Miriam Margolyes was happy that the audience roared with laughter. "Until you're in front of a real audience, not just a few people, you just never know," she says. Margolyes portrayed Professor Sprout in the film Harry Potter and the Chamber of Secrets.

In Earnest , Margolyes, a brilliant character actress who has appeared in more than 80 films and count­ less plays, inhabits the character of the prim governess Miss Prism. With her rigid countenance ("The corset I wear pushes my boobs up to my chin," says the earthy Margolyes) and over-the-top, narrow­ minded propriety, the actress says that in some ways her character is "peculiarly revolting." "But I see her as a sex object. She really has a passionate attachment to the local vicar-she's really creaming in her knickers-but it's something she has to hide because of the severe social repression of the time. Rea lly, Peter Ha ll 's interpretation is that the play is about love. "

Underneath the witty epigrams, Earnest has myriad themes. It is a radical assault on social hypocrisy and false morality. Jack Worthing (played by James Waterston , Sam Waterston's son) is a respect­ able owner of a country estate. Longing to cut loose and have a bit of fun , he invents an irresponsible younger brother named Earnest, whom he is constantly called upon to get out various scrapes. This fiction allows Jack to head for London and don Earnest's boisterous persona.

Jack's devil-may-care friend Algernon also uses the ruse of an imaginary person , the chronically ill Bunbury, as a way of avoiding unpleasant social situations, being frequently called to Bunbury's deathbed. The co nfusion of identities leads to ever more absurd consequences. But under the gossamer wisps of tossed off witticisms is a subtle profundity ("All women become like their mothers. That is their tragedy. No man does. That's his. ")

28 The Importance of Being Earnest

The very embodiment of upper-class snobbery and the bull's eye of Wilde's satire is Algernon's aunt, Lady Bracknell (played by the inimitable Lynn Redgrave). This wonderful, impossible character, who so admires ignorance that she calls it "a delicate, exotic fruit," gets some of the play's best lines.

But the multifaceted comedy is not just about the hypocrisy and stupidity of the upper class Victorians. It is, in Hall's interpre­ tation, "not just about empty, trivial people offering witticisms," says Margolyes. "It's a bout love, not just wit. It's about real emotions. Wilde him­ self was a very loving person."

Margolyes, who has worked with 75-year­ old Hall three times before, descri bes the director as "strict but warm and flexible . He is confident in his own knowledge, but if an actor has an id ea that's better, he'll use it. "

Hall is a master at re­ vivifying classics while remaining true to their essence (h is staging of As You Like It played at BAM in 2005). In an interview with The Guardian last year, Hall , who has directed more than a hundred plays and , said, "I see my role as an interpreter. My job is to try to find out what the writer meant and then to try and find a means of conveying what he meant in terms that mean something to our audience."

Echoing Margolyes' comment, Hall went on to say, "I don't believe in wa lking into a rehearsal room, say­ ing, 'Here is the concept, and we are going to force everything into it. That is anti-creative and anti-art."

In Hall's nuanced treatment of Earnest, Margolyes sees an element of sadness. Calling Earnest "the most perfectly achieved play in the English language," she says, "Peter brings out the profundity of the play, but also an underlying sadness."

On that note, Wilde gets the last word, in one of the more memorable epigrams from the play: "I suppose society is wonderfully delightful. To be in it is merely a bore. But to be out of it simply a tragedy." ~

29 2006 Spring Season Brooklyn Academy of Music

Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkins Joseph V. Mel illo Presi dent Executive Producer

presents Hercules by Approximate BAM Howard Gilman Opera House running time: Feb 14, 16, & 18, 2006 at 7:30pm ; Feb 19 at 3pm 3 hours, 20 minutes Les Arts Florissants including one An Aix-en-Provence Festival production intermission Conducted by William Christie Directed by Luc Bondy

Set design by Richard Peduzzi Costume design by Rudy Sabounghi Lighting design by Dominique Bruguiere Movement director Michel Kelemenis Assistant music director Jeremie Rhorer Assistant to the director Sven Nielsen

Hercules William Shimell Dejanira Joyce DiDonato Hyllus Ed Lyon lole Ingela Bohlin Lichas Katija Dragojevic Priest of Jupiter Simon Kirkbride

An Aix-en-Provence production , in co-production with the Opera de Paris and the Wiener Festwochen BAM 2006 Spring Season is sponsored by Bloomberg. Leadership support for BAM French programs is provided by The Florence Gould Foundation. CALYON Corporate and Investment Bank is the presenting sponsor for Hercu les. Hercules is made possible with major support from the Grand Mamier Foundation and Anne H. Bass, and additional support from the Mary Duke Biddle Foundation. Additional support for BAM French programs is provided by the Fribourg Family Foundation. Support for BAM Opera is provided by the Isak and Rose Weinman Foundation, Inc. Opera endowment funding has been provided by The Andrew W Mel/on Foundation Fund for Opera & Music Theater and The Peter Jay Sharp Fund for Opera and Theater. Les Arts Florissants receive financial support from the Ministry of Culture and Communication, the City of Caen, and the Conseil Regional de Basse-Normandie. Their sponsor is Imerys. 31 Les Arts Florissants

Music Director Violas Bassoon William Christie Galina Zinchenko Emmanuel Vigneron Samantha Montgomery Rhoda-Mary Patrick Executive Director Lucia Peralta Luc Bouniol-Laffont Michel Renard Trumpets Jean-Luc Thonnerieux Jean-Frangois Madeuf Orchestra (also plays horn) Cellos Violins David Simpson (BC) Horns Pa trick Cohen, Leader Elena Andreyev Claude Maury Jean-Paul Burgos Ulrike Brutt (also plays trumpet) Bernadette Charbonnier Paul Carlioz Catherine Girard Brigitte Crepin Percussion Martha Moore Damien Launay Gabriel Laufer Christophe Robert Alix Ve rzier Una Tur-Bonet Theorbo Bri an Feehan (BC) Peter Van Boxelaere Double Bass George Willms Jonathan Cable (BC) Harpsichord and Organ Joseph Carver Myriam Gevers Benoit Hartoin (BC) Michael Greenberg Roberto Crisafulli ReptHiteur Sophie Gevers Demoures Oboe Brad ley Brookshire Simon Heye ri ck Pier Luigi Fabretti Mihoko Kimura Olivier Clemence (BC): Basso Continuo Berengere Maillard Michel Henry Valerie Mascia Machiko Ueno Michele Sauve

Chorus Tenors Thibaut Lenaerts Sopranos Michael Loughli n Smith Hanna Bayodi (Solo in "C rown With Festal Pomp") Jeannette Best Nicolas Maire Sophie Deca udaveine Jea n-Yves Ravoux Nicole Dubrovitch Bruno Renhold Maud Gn idzaz Maurizio Rossano Brigitte Pel ote Marcio Soares-Holanda Anne Picha rd Isabe ll e Sauvageot Basses Sheena Wolstencroft Fa bri ce Chomienne Lei la Ziassi Laurent Collobert Pi erre Jeannot Countertenors/Mezzo-sopranos David Le Monnier (First Tra chinianl Dani el Blan chard Ch ristophe Olive (Solo in "Crown With Festal Pomp") Jean-Luc Rayon Nicolas Domingues Jean-Marc Savigny Dom inique Favat Thomas Van Essen Sebastien Fournier Armand Gavriilides Assistant Conductor and Chorus Master Brigitte Le Ba ron Jeremie Rhorer Florence Recanzone Musical Assistant Benoit Hartoin Hercules Synopsis

In Act 1, the court laments the inconsolable grief of Dejanira, who is convinced that her husband, Hercules has been killed while on a military expedition that has kept him absent from her. Once consulted, the oracles indicate that the hero is dead and that the summits of Oeta are ablaze with fire. Th e prophecy confirms Dejanira's fear; however, their son Hyllus refuses to give up hope. As the latter prepares to set out in search of his father, Lichas arrives and announces that Hercules has returned alive after conquering Oechalia. Among the captives is the princess lole, whose beauty is legendary. Her predicament leaves Hyllus deeply moved. Despite having ravaged her country and sacrifi ced her father, Hercules reassures lole that even though she is in exile, she can consider herself free.

In Act 2, lole is seized by a yearning desire for a simple, humble form of happiness far removed from the machinations of power. Meanwhile, Dejanira, convinced that Hercules has been unfaithful to her, considers lole's beauty as proof of his betrayal, even though her suspicions are resolutely refuted by her supposed ri va l. Li chas, too, observes the unstoppable progression of Dejanira's jealousy. Hyllus, for his part, having declared his love to the captive princess, suffers the agony of her rejection. While Hercu les is summoned to celebrate the rites of his victory, Dejanira gives Lichas a ga rment for her husband as a token of reconciliation. The blood-soaked cloak, entrusted to her by Nessus as he lays dying after being defeated by Hercules, is apparently endowed with the power to lead a heart back to faithfulness. Meanwhile, Dejanira takes great pains to convince lole that she regrets her accusations.

In Act 3, Lichas recounts how Hercules receives Dejani ra 's gift at the Temple and how the cloa k is impregnated with a deadly poison. As his son watches on , the hero, undefeated until now, dies in appalling suffering, cu rsing Dejanira's vengeance. Th e last wishes expressed by the father to his son-that he be carried to the summit of Mount Oeta and set upon a funeral pyre-throw a belated light on the meaning of the oracle of the first act. Dejanira is informed of the glorious reception given to Hercules in Olympus. Discovering that she was the in strument of his death, Dejani ra si nks into madness. Such misfortune arouses the pity of lole . Jove ordains the marriage between Hyllus and lole, a decree that is received with joy by Hyllus and .. . stoic resolution from lole. Who's Who

William Christie (conductor), harpsichordist, enthusiasm for the Fren ch Baroque has never di­ conductor, musicologist and teacher, is the inspi­ minished. From Charpentier to Rameau, through ration behind one of the most exciting musical Couperin, Mondonville, Campra, or Monteclair, adventures of the last 25 years. His pioneer- he is an acknowledged master of tragedie-Iyrique ing work has led to a renewed appreciation of as well as opera -ba llet, and is equally at home in France, notably of seventeenth­ with French as with music of the court. and eighteenth-century French repertoire, which Hi s affection for French music does not prevent he has introduced to a very wide audience. him from exp loring other European repertoire, Born in Buffalo (New York) , Christie studied at however, and he has given many acclaimed Harva rd and Yale Universities, and has lived in performances of works by Ital ian composers such France since 1971. The major turning point in as Monteverdi, Rossi, and Scarlatti. He under­ his career came in 1979 when he founded Les takes Purcell and Handel with as much pleasure Arts Florissants. As director of this vocal and as Mozart and Haydn. His extensive discography instrumental ensemble, Christie soon made his (over 70 recordings, many of which have won mark as a musician and man of the theater, in awards in France and abroad) with Harmonia both the concert hall and the opera house, with Mundi and Warner Classics/Erato is proof of new interpretations of largely neglected or forgot­ this versatility. Since November 2002, Christie ten repertoire. Major public recognition came in and Les Arts Florissants have recorded for Virgin 1987 with the production of Alys by Lully at the Classics, for whom the first release was a CD Opera Comique in Paris, which then went on to of Handel sonatas with Hiro Kurosaki, leader of tour internationally with much success. Christie's Les Arts Florissants. Christie has an increasingly Who's Who busy operatic career and his collaborations with Les Arts Florissants renowned theater and opera directors, such as The vocal and instrumental ensemble Les Arts Jean-Marie Villegier, Robert Carsen, Alfredo Arias , Florissants is one of the most renowned and Jorge Lavelli , Graham Vick, Adrian Noble, and respected early music groups in Europe and Andrei Serban , are always significant events in around the world. Dedicated to the performance the musical calendar: Hippolyte et Aricie (1996) , of Baroque music on original instruments, the Les In des galantes and Alcina (1999) and Les ensemble was founded in 1979 by the Fran co­ Boreades (2003) at the Opera de Paris; Medee American harpsichordist and conductor William (1993), " ritorno d'Ulisse (2002), Les Boreades Christie, and takes its name from a short opera (2003) , Serse and Les Paladins (2004) at the by Marc-Antoine Charpentier. Les Arts Florissants Theatre de Caen; Die Entfuhrung aus dem Serail have been largely responsible for the resurgence (1993) at the Opera du Rhin ; and King Arthur of interest in France in seventeenth-century (1995) and Les Paladins (2004) at the Theatre French repertoire as well as in European music du Chatelet in Paris. His many engagements of the seventeenth and eighteenth centuries more with Les Arts Flori ssants at th e Aix-en-Provence genera ll y. This was repertoire which had, for the Festival include Castor et Pollux (1991), The Fairy most part, been neglected (much of it unearthed Queen (1992), The Magic Flute (1994), Orlando from collections in the Bibliotheque Nationale de (1997) and the highly successful II ritorno d'Ulisse France) but which is now widely performed and in patria by Monteverdi (revived in 2002) and admired. Since the acclaimed production of Atys Hercules (2004). Much in demand as a guest by Lully at the Opera Comique in Paris in 1987, conductor, Christie receives regular invitations from it has been in the fi eld of opera where Les Arts prestigious opera festivals such as Glyndebourne, Florissants have found most success. Notable where he has conducted the Orchestra of the Age productions include works by Rameau (Les Indes of Enlightenment in productions of Theodora and galantes in 1990 and 1999, Hippolyte et Aricie Rodelinda by Handel (the latter was revived at in 1996, Les Boreades in 2003, Les Paladins in the Theatre du Chatelet in 2002). Other guest 2004), Charpentier (Medee in 1993 and 1994), appearances include Zu ri ch Opera, where he Handel (Orlando in 1993, Acis and Galatea in has conducted Iphigenie en Tauride by Gluck, 1996, Semele in 1996, Alcina in 1999, Hercules Les Indes galantes by Rameau and , in February in 2004), Purcell (King Arthur in 1995), Mozart 2004, Radamisto by Handel. Since 2002, he has (The Magic Flute in 1994, Die EntfUhrung aus appeared regularly as a guest conductor with the dem Serail at the Opera du Rhin in 1995) and Berlin Philharmonic. Christie is equally commit­ Monteverdi (the much praised" ritorno d'Ulisse ted to the tra ining and professional development in patria at Aix-en-Provence in 2000, revived of young artists, and he has nurtured several in 2002). The ensemble has collaborated on generations of singers and instrumentalists over productions with renowned stage directors such as the last 25 years. Indeed , many of the music Jean-Marie Villegier, Robert Carsen , Alfredo Arias, directors of today's Baroque ensembles began , Jorge Lavelli, Adrian Noble, Andrei their careers with Les Arts Florissants. Between Serban , and Graham Vick, as well as with chore­ 1982 and 1995, Christie was a Professor at the ographers Francine Lancelot, Beatrice Massin, Ana Paris Conservatoire, with responsibility for the ea rl y Yepes , Shirley Wynne, Maguy Marin, Fran<;ois Raf­ music class. He is often invited to give master finot, Jiri Kylian, and Blanca Li, to name but a few. classes, or to lead academies such as those . Les Arts Florissants have an equally high profile in at Aix-en-Provence and Ambronay. Wishing to the concert hall and on disc, as illustrated by their develop further his work as a teacher, he created many acclaimed concert performances of opera an Academy for young singers in Caen , called Le (Zoroa stre and Les Fetes d'Hebe by Rameau, Jardin des Voix , whose first two sessions, in 2002 Idomenee by Campra, Jephte by Monteclair, II and 2005, generated a huge amount of interest in Sant'Alessio by Landi, L'Orteo by Rossi) , as well France and elsewhere in Europe as well as in the as secular chamber works (Acteon , Les Plaisirs de U.S. Christie acquired French nationality in 1995 Versailles, and OrpMe aux Enters by Charpentier and was made an Officier de la Legion d'Honneur and Dido and Aeneas by Purcell), sacred music in April 2003. He is also an Officier dans l'Ordre (the Grands Motets by Rameau , Mondonville, and des Arts et des Lettres. Desmarest, Handel oratorios such as Messiah , Isra el in Egypt and Theodora) , not to mention a Who's Who

large number of cho ral works. Les Arts Flori s­ und die Andere (Berliner Ensemble 2005); sants have also embarked upon contemporary (Odeon-Theatre de L'Europe Paris co-production repertoire, giving the premiere of Motets III with Wiener Festwochen 2005); and Schlaf (in - Hunc igitor terrorem by Betsy Jolas in 1999 preparation: Wien co-production to mark their 20th anniversary. The ensemble with Wiener Festwochen , 2006). Opera includes has an impressive discography: more than 40 Salome (Salzburger Festspiele, 1992); recordings for Harmonia Mundi, and some 30 on (Theatre du Chatelet Paris, 1992); The Turn of the the Warner Classics/Erato label, the most recent Screw (Festiva l O'Aix-en-Provence co-production of which being Theodora by Handel. As part of with Wiener Festwochen , 2001); Hercules (Fes­ their collaboration with EMI/Virgin Classics (since tival O'Aix-en- Provence , co-production-Opera 2003), Les Arts Florissants recently reco rded a National de Paris with Wiener Festwochen 2004); CO entitl ed Salve Regina petits motets by Campra Julie (Oe Munt/La Monnaie, Brussels, co-produc­ and Couperin. For fifteen years, Les Arts Flori s­ tion Wiener Festwochen with Festiva l O'A ix-en­ sants have been artists in residence at the Theatre Provence, 2005); and Idomeneo (Teatro Alia de Caen , and each year they present a concert Scala Milano, 2005). Films include Die Ortlieb­ season in the Basse-Normandie region. The schen Frauen (based on a novel by Franz Nabl, ensemble also tours widely within France, and is 1980); Das Weite Land (1987); and NE FAIS a frequent ambassador for French culture abroad PAS 9A! (Les Films de Landemain Paris and Net (it is regularly invited to BAM and Lincoln Center Entertainment Berlin , 2004). Publications include in New York , the Barbi ca n Centre in London, and Luc Bondy, Das Fest des Augenblicks, Salzburg the Vienna Festival). In 2004, they performed Les and Vienna, Residenz Verlag, 1997; Luc Bondy, Paladins at Shanghai Grand Theatre as part of the Wo war ich? Einbildungen, Zurich, Ammann Ver­ 'Year of France in China'. In September 2004, Les lag, 1998; Luc Bondy: Meine Dibbuks, Erinner­ Art Florissants celebrated the 25th anniversary ungen und verbesserte Traume , Zsolnay Verlag, of its founding as well as the tricentenary of the Vienna, September 2005; Luc Bondy-Erfinder, death of Marc-Antoine Charpentier with a large­ Spieler, Liebhaber, by C. Bernd Sucher, Salzburg scale tour to the most prestigious concert venues and Vienna, Res idenz Verlag, 2002. in Europe and South America. Ingela Bohlin (lole), born in Lund, Sweden, Luc Bondy (director) was born in Zurich in graduated from the Un iversity College of Opera in 1948. After graduating from Jacques Lecoq's Stockholm in 2002. She has worked extensively mime school , he debuted as a director at Theatre in Sweden including appearances with Norrkoping Universitaire International in Paris where he suc­ Symphony Orchestra, Swedish Radio Symphony cessfully adapted a novella by Witold Gombrowicz Orchestra, and at the Vadstena Academy. In for the stage. Theater includes Die See (Res­ 2002 she made her Chicago Opera Theater debut idenztheater Munchen , 1973); Kalldewey Farce singing Fiordiligi in a new production of Cosl fan (Schaubuhne Berlin , 1982); Triumph der Liebe tutte conducted by Jane Glover who invited her (Schaubuhne Berlin , 1985); Die Stunde da Wir back in 2004 to sing Orusilla in L'lncoronazione Nichts Voneinander Wussten (Schaubuhne Berlin di Poppea. She recently sang Poulenc's La voix co-production with Festival O'a utomne Paris, Humaine at Kulturhuset in Stockholm and has 1994); Jouer avec Ie feu (Theatre Vidy Lausanne taken part in a touring project, Wolf-a staging of co-production with Wiener Festwochen , 1996); Mozart excerpts by choreographer Alain Platel-in En attendant Godot (Theatre Vidy Lausanne Ouisburg, Berlin, Ghent, Brussels, and Amster­ co-production with Wiener Festwochen , 1998); dam , culminating in performances at Paris Opera. Die Mowe (Burgtheater Wien co-production Recent opera appearances have included Morgana with Wiener Festwochen , 2000); Auf dem Land (Alcina) at Orottningholm Theatre in a new pro­ (Schauspielhaus Zurich co-production with Ber­ duction by Pierre Audi conducted by Christophe liner Ensemble, 2001); Anatol (Burgtheater Wien Rousset, lole (Hercules) for Paris Opera under co-production with Wiener Festwochen, 2002); William Christie, Erste Oame for Paris Opera with Une piece Espagnole (Theatre Oe La Madeleine Marc Minkowski, the world premiere of Hosoka­ co-production with Wiener Festwochen, 2004); wa's Hanjo at the Aix-en-Provence Festival and Cruel and Tender (Young Vic Theatre co-produc­ La Monnaie, Brussels conducted by Kazushi Ono, tion with Wiener Festwochen, 2004); Die Eine Pamina (Die Zauberflote) with Jean-Christophe 35 Who's Who

Spinosi, and Ismene (Mitridate) for Salzburg Festi­ Katija Dragojevic (Lichas), a Swedish mezzo-so­ val under Minkowski. Recent and future highlights prano, stud ied at the Royal University College of include lole at the Wiener Festwochen and Lon­ Music, Stockholm and on the Ope ra Course at the don with Wi ll iam Christie; Alcina at Netherlands Guildhall School of Music and Drama , London. Opera with Christophe Rousset, and the soprano In the 2003-04 season she appeared as Kate arias in a staged production of Bach's St. Mat­ Pinkerton (Madama Butterfly, RO H Covent thew Passion for Glydnebourne Festival. Bohlin is Garden) and the Shepherd (Tannhauser, Theatre an established concert singer having worked with du Chatelet, Paris). In fa ll 2004 Dragojevic orchestras such as the Swedish Radio Orches- returned to the Covent Garden as Siebel in Faust. tra, Les Talens Lyrique conducted by Christophe The season 2005-06 has included the page Rousset, and the Drottningholm Barock Ensemble in Salome (Royal Opera , Stockholm) and Lichas where she has performed repertoire by Bach, in Hercules with Les Arts Flo rissant;; in London. Monteverdi , Handel, and Mozart. Recent appear­ Dragojevic made her debut at La Monnaie, ances have included Haydn's Die SchOpfung with Brussels in autumn 2000 as Krista in Janacek's Swedish Rad io Symphony Orchestra and Manfred Makropulos Case where she also has sung one Honeck, and Moza rt's Requiem with Joseph of the Maids in Zemlinsky's The Dwarf. She has Swensen and Malmo Symphony Orchestra. This appea red as Zerli na in , Dorabell a season Bohli n made her U.K. debut singing in Cos! fan tutte and Va rvana in Katya Kabanova Disguised God by Lars- Erik Larsson and Handel at the Scottish Opera, as Ann io in La Clemenza arias with the English Chamber Orchestra and di Tito at the Welsh Nati onal Opera, as Hansel will return to Swedish Radio with Honeck to in Hansel und Gretel at Opera North, and as sing Schmidt's Das Buch mit Sieben Siegeln. on tour with the English Touring Ope ra. Future concerts include Mozart arias with SW R In her home country she has sang Dorabella at Symphony Orchestra and Sylvain Cambreling, Folkoperan, Stockholm, La Traged ia, and Venere and Mozart's version of Handel's Messiah at the in Peri's Euridice at the Drottningholm Court The­ Salzburg Whitsun Festival with Ivor Bolton. atre and the title role in Provenzale's Stellidaura at the Vadstena Festiva l under the Stephen Stubbs Joyce DiDonato (Dejani ra) is universally regarded and Paul O'dette. In concerts Dragojevic sings as one of the leading lyric mezzos of her genera­ music ranging from ea rly baroque to modern. Her tion . She is in demand from al l of the world 's repertoi re includes the alto parts in a number of lead ing opera houses in her signature roles of sacred works by composers like Bach , Handel, Rosinalll barbiere di Siviglia and Angelina/La and Moza rt. She has sung Annio in La Clemenza Cenerentola. After leaving the Houston Grand di Tito in a concert performance at the Edinburgh Opera Stud io Program, her career progression has Festiva l and Couperin's Les Chansons tenebre on been meteoric. Her Paris Opera debut as Rosina tour in Switzerland. She has been touring in the in a new production of II barbiere di Siviglia in U.K. with the pianist lain Burnside with A century the 2001/2002 season created such a buzz of of songs, including a BBC broadcast. In 2000 she excitement with the public that invitations from was the soloist at the Noble Prize Award banquet Covent Garden , La Scala, the Metropolitan Opera, in Stockholm. Autumn 2004 included Orlovsky Chicago, and San Francisco quickly followed. In in Die Fledermause in concert with the Swedish 2002 she received the prestigious Richard Tucker Radio Orchestra and Manfred Honeck and Bach's Award, thus crowning a whole series of awards. Weinachts-Oratorium with the Ma lmo Symphony DiDonato has worked with such conductors as Orchestra and Christoph Konig. Dragojevic has Bruno Campanella , Ricardo Muti , Zubin Mehta , recorded M. Haydn's Missa Sancti Hieronymi and John Eliot Gardiner, Marc Minkowski, William Temete Dominum for BIS. Christie, and John Nelson. In addition to the respect she has earned for her performances Simon Kirkbride (Priest of Jupiter), won the Rose of Rossini , DiDonato is highly praised for her Bowl for the Most Outstanding Student of the Year interpretation of the works of Handel and Mozart. at the Roya l College of Music. Kirkbride's ea rly Her recent recordi ngs for EMI have received stellar career successes included Thaddeus in the world reviews. Her first major international recital tour premiere of Birtwistle's The Last Supper at the last season was so well received that another is Berlin Staatsoper (repeated at the Glyndebourne planned in the 2006-07 season. Festival), Morales in Carmen for Scottish Opera, Who's Who

Lycomedes in Deidamia for the London Handel Britten's Cantata Misericordium and Acis in Festival , Publio in La Clemenza di Tito for Welsh Handel's Acis and Galatea. Recently he has sung National Opera , Figaro in Le nOlle di Figaro for Bach's St. Matthew Passion with the Bach Glyndebourne Touring Opera, Masetto in Don in the Royal Festival Ha ll London, Bach 's St. Giovanni for the EurOpera Studio-Milan, Alidoro John Passion, Beethoven's Mass in C, the world in La Cenerentola for Mid-Wales Opera, God in premiere of Michael Stimpson's The Angry Gar­ Eilert Tosse's Ropert fra oskehaugen for Opera den, Britten's Serenade and Les Illuminations , Bergen, and God in Sera for Opera Vest. He Britten's War Requiem at the Berlin Philharmo­ made his international opera debut as High Priest nie, Messiah at Birmingham Symphony Hall and of Jupiter in Hercules with Les Arts Florissants at the Royal Albert Hall , Mozart's Requiem with Sir the 2005 Aix-en-Provence Festival followed by Roger Norrington at the Spitalfields Festival, and debuts with as the Greek Hyllus in Handel's Hercules for the London Han­ Captain in The Trojans , with Vlaamse Opera del Festival. Operatic roles include Peter Quint in as Ratcliffe and Brackenbury in Richard 11/ by The Turn of the Screw, Male Chorus in The Rape Giorgio Battistelli , and with Norwegian Opera as of Lucretia, and the title role in Albert Herring for the Music Master in . In the Opera East Productions and the Opera Proj ect at Autumn of 2005 he sang the role of Pu blio in La Iford and Longborough. He recently sa ng the part Clemenza di Tito in the Ai x-en- Provence Festival of the Schoolmaster in Janacek's The Cunning production in Luxembou rg and Baden-Baden, Little Vixen under Sir Charles Mackerra s, Eccl iti co and Cadmus in Semele for Vlaamse Opera. in Hayd n's II Mondo della Luna and Korn elis in Future plans include Starveling in A Midsummer La Princesse Jaune for Roya l Academy Opera, Night's Dream at Glyndebourne, further perfor­ Jupiter in Handel's Semele for Briti sh Youth mances of Handel's Hercules with William Chris­ Opera, Don Ottavio/Don Giovanni for Opera East, tie and Les Arts Florissants in London and at the Lucano/L'incoronazione di Poppea for the Opera Netherla nds Opera, and Dr. Bartolo in Le NOlle Theatre Company in Dubl in, and Monteverdi's di Figaro at the Aix-en-Provence Festival. On the Orfeo with Le Concert d'Astree and Emmanuelle U.K. concert stage, Kirkbride has appeared with Ha'im in Lille and Caen. Future performances the Britten Sinfonia , English Chamber Orchestra , include fu rther performances of Orfeo with Le Fl ori legium, London Baroque, London Handel Concert d'Astree at the Chiltelet, Pari s and in Orchestra , London Mozart Players, and Orches­ Strasbourg, Hyllus in Handel 's Hercules with Wil­ tra of St. Johns under the batons of Sir Bern ard li am Christie and Les Arts Flori ssa nts in London Haitink, John Lubbock, Sir Charles Macker- and with the Netherlands Opera , Telemaco in ra s, Gennady Rozhd estvensky, and Sir David Monteverdi's II ritorno d'Ulisse in patria for Welsh Willcocks. Hi s recordings include the Saint-Saens National Opera , and Tamin o (The Magic Flute) Requiem with the Londo n Philharmonic under for Opera North . Geoffrey Simon. William Shimell (Hercules) is one of Britain's Ed Lyon (Hyllus) was educated at St. John's most accomplished operatic . As Count College, Cambridge, from which he graduated Almaviva in Le NOlle di Figaro, Shimell has with a BA in History of Art in 2001, and at the appeared at La Scala under , at Royal Academy of Music, where he was awarded the Vienna Staatsoper, Paris Bastille, and in many prizes including the Goldberg Operatic Geneva , Zurich , Munich, Chicago, Madrid , and Prize, the Joseph Mass tenor prize, and the Flora Glyndebourne. He has sung Guglielmo in Cos! Nielsen Song Prize. He was a finalist in the 2003 fan tutte at Covent Garden, Paris Bastille, Rome, Kathleen Ferrier Competition, and a Samling Metropolitan Opera House (NYC), Ravinia , Ge­ Foundation Scholar in 2004. During 2004/05 neva , Zurich , Tokyo, and on tour with La Scala , Lyon studied at the National Opera Studio and is at the Bolshoi in Moscow. Shimell is well known grateful to the Sybil Tutton Trust, the Countess of for his interpretations of Don Giovanni, which he Munster Musical Trust, English National Opera, has sung in opera houses throughout the world , and Welsh National Opera for their support. He including Amsterdam and Zurich (with Nikolaus made his professional debut at Snape Malt- Harnoncourt), Berlin, Munich, Frankfurt, Madrid, ings when he sang the Evangelist in Telemann's San Francisco, Hong Kong, Santiago, Lyon, and St. Matthew Passion , and returned to perform the Aix Festival. He has recorded the role with >! Who's Who

Riccardo Muti for EMI. His reputation has been design of the "Village" in 2002 at the Sa lon further enhanced by his performances of Marcello du meuble, Paris; plus the museography of the in La Boheme at Covent Garden , the Vienna goldsmithery museum Christofle at St. Denis in Staatsoper, the Met, and San Francisco; of Nick March 2002; and Cosl fan tutte (2005) and Miss Shadow in The Rake 's Progress in Lyons and San Julie (2005). He has created set decorations for Franci sco; as Sharpless in Madame Butterfly in films as well, and the scenography of the national Florence; as Escamillo in Carmen at Pari s Bastille; Museum of History and Art in Luxembourg. and as Dourlinski in Cherubini's Lodoiska at La Scala (recorded live for Sony). Recent opera ap­ Rudy Sabounghi (costume design), after his stud­ pearances have included Cosl fan tutte in Japan ies in Monte Carlo, obtained his National Diploma and at the Met, Don Giovanni at Opera Pacific, for Scenography in Nice. He was a.ssistant on in Pittsbu rgh , Vienna, and Munich; Madame two influential productions, La clemenza di Tito Butterfly at the Met; Le Nozze di Figaro at La (1982) dir. Karl Ernest Herrmann and L'lIlusion Scala and in Paris , Berlin, and Seoul; La Boheme (1984) directed by Giorgio Strehler at the Odeon in Munich; and The Rake's Progress in Munich, Theatre de l'Europe in Paris. For the past 20 years Dresden , and the Met. Most recently, he sang the Sabounghi has worked with various directors title role in Handel 's Hercules in this production and choreographers in opera, theater, and dance. for Aix-en-Provence and Paris, which was pre­ Since 1984 with director Jean-C laude Berutti sented in Vienna last summer and tours to London projects include L'lrcam (L'Ensemble Intercontem­ this season. Other future engagements in clude a porain, Paris); Manfred (La Monnaie, Brussels); return to the Met for Manon Lescaut and Cosl fan Werther (Madrid); La Traviata and La BoMme tutte in Hamburg. (Nancy); several productions at the Theatre du Peuple de Bussang; Faust and Rusalka (Lyon Op­ Richard Peduzzi's (set design) is a designer and era) , and the rare Konig Kaudaules (Liege Opera). author and director of the French Academy at Les temps difficiles for Comedie Franr;aise is in Rome as of September 2002. His experience in­ preparation (Nov 2006), and a new production cludes the creation of the contemporary furniture of L'Elisir d'amore (2007, Leipzig). With Klaus for the Mobilier National, restoration, interior de­ Michael Gruber since 1986-La Cenerentola , sign, museography of the library and the museum La Traviata (Chatelet, Paris); La Mort de Danton , of the Opera Garnier, and set design of the French Amphitryon (Berlin Schaubuhne); L'lncoronazione Pavilion at the World Fair of Seville (Spain, 1992). di Poppea (Aix-en-Provence); and Don Giovanni He also signed all the decorations of the shows (Ruhr Trienale). In progress-Boris Godunov (La directed by Patrice Chereau from 1968 to 2005 Monnaie), next April. With Jacques Lassalle since including the Nozze di Figaro and The Ring by 1990-Berenice (TNS Strasbourg); Dom Juan, Wagner (1976). Since 1988, he designed several Serva Amorosa (Comedie Franr;aise); Andro­ shows under the direction of Luc Bondy: The Soli­ maque (Athens); Cherry Orchard (Oslo); Malade tary Way (1988), Playing with Fire (1996), Turn imaginaire (Venice); L'homme difficile (Vidy of the Screw (2001), Anatole (2002), Cruel and Lausanne); Medee (Festival d'Avignon). With Tender (2003), and Hercules (Aix-en-Provence, Anne Teresa De Keersmaeker since 1992-Arias 2004). He also designed the Rise and Fall of the (Avignon); Verklarte Nacht (Chatelet); Blue Beard Town of Mahagony by Kurt Weill (dir. Peter Zadek, and Wood (La Monnaie). With Luca Ronconi , 1997). Since 1979, Peduzzi in 1994-0tello (La Monnaie) and King Lear has collaborated with the Louvre Museum and the (reatro Argentina , Rome). With Luc Bondy since Museum of Orsay in the field of the museography. 1998-Phedre (Vidy); 3 malleben (Burgtheater, He also works on several exhibitions: the collec­ Vienna); Macbeth (Scottish Opera) ; Winter­ tions of Daniel Filipacchi and Necuhi Ertegun at marchen and Julie (La Monnaie) ; Auf dem Land the Guggenheim Museum of New York ; Chardin at (Schauspielhaus Zurich); Cruel and Tender (Young the National Galleries of the Grand Palais (1999); Vic, London) ; Hercules (Aix-en Provence, Opera Homage to Ferdinand of Medici at Villa Medici , Garnier Paris) ; Die eine und die andere (Berliner Rome (1999); In search of the Ideal City (Royal Ensemble); Viol (Odeon Theatre de l'Europe , Salina of Arc-and-Senans, 2000); the exhibit on Paris) , and Idomeneo (La Scala) of Milan. With Nijinski at the Museum of Orsay (2000-01); Lucinda Childs since 2003-Daphnis and Chloe Who's Who

(Opera of Geneva); Mandarin Merveilleux (Opera Fattoumi- Lam ou reu x (Duo , Gemeaux, 1996); Ma­ National du Rhin); in preparation is a Stravinsky ri e-C laude Pietragalla (Sakountala, Ballet National program-Rossignol, Oedipus Rex- for 2007. de Marseille, 2000); Nicolas Le Riche (Caligula, And with Thierry de Peretti since 2004-Richard l'Opera Garnier, 2005). She has designed lighting " (Theatre de la Ville, Paris); Gengis parmi les for fashion designers such as Issey Miyake for Pygmees; and Le mystere de la rue Rousselet (Le whose show she lit in 2003. Vieux Colombier, Pari s). Michel Kelemenis (movement director) is a Dominique Bruguiere (lighting design) designs dancer and choreographer born in 1960. In light for theater, opera, and dance. She has 1983, Kelemenis began performing with the worked with Lu c Bondy on Jouer avec Ie feu Centre Choregraphique National of Montpellier, (Theatre Vidy Lausanne), Macbeth (Edinburgh where he first choreographed. Winner of the Vi lla Festival), Drei malleben (Burgtheater), Tum ofthe Medicis Hors les Murs prize in 1987, he founded Screw (Festival d'Aix en Provence) , Auf dem Land his company that year and moved to Marseille in (Schauspielhaus Zuri ch, Festiva l D'Automne), 1989. In 1991 , he won the Leonardo da Vinci Anatol (Burgtheater), Cruel and Tender (Young Vic Grant and the Japanese Uchida Shogakukin prize. Theater; Festival d'Automne) Hercules (Festiva l His extensive body of work has been performed d'Aix-en-Provence; Opera Garnier), Julie (Theatre throughout the world ; he is known for fluid , sen­ Royal de la Monnaie) , Viol (Odeon aux Ateliers sible, and precise dances best performed by danc­ Berthier), and Idomenee (La Scala, Milan). With ers with great technica l ability. Usi ng the body's Dario Fo-Le Medecin volant et Ie Medecin movement through space and time, the choreog­ malgre lui (Comedie Fran<;aise); Werner Schroeter, rapher explores universal themes by employing Engel in Amerika (Schauspielh aus, Hamburg); poetry, humor or se ri ousness: love, encounters, Daniel Schmidt, Les Puritains (G rand Th eatre de difference, memory, or solitude. His personal style Geneve); Peter Zadek, Mahagonny (Sa lzburg Fes­ combines finesse and athletic performance, which tival); Youssef Chahine, Caligula (Comedie Fran­ has led the choreographer to work with the ballets <;aise) ; Ricardo PaYs, /'Illusion comique (Teatro Na­ of the Paris Opera , Rhin Opera , Opera du Nord , ciona l San Joao a Porto) ; Deborah Warner, Maison and Geneva Opera. In 2000, Kelemenis directed de poupees (Theatre National de L'Odeon) ; Robert and choreographed the lyric drama L'Atlantide Carsen , Les Nozze di Figaro (Grand Theatre de by Henri Tomasi for the Marseille Opera . He has Bordeaux); Orlando (Festival d'Aix-en-Provence); coll aborated with the Festival d'Art Lyrique of Aix­ Lohengrin (Opera Bastille) , Faust (Grand Theatre en-Provence-in 2003, he put to movement four de Geneve) ; Jorge Lavelli , /'enfant et les sortileges animal-acrobats in Stravinsky's Renard, directed (Teatro Real); Claude Regy, Jeanne au b()cher by Klaus-Michael Gruber and conducted by Pierre (Opera Bastille) ; Karole Armitage and James Ivory, Boulez; in 2004, he assisted Luc Bondy for the Apollon et Daphnee (il Maggio Musicale); with choir movements of Handel's Hercules, con­ Patri ce Chereau, Le temps et la chambre (Theatre ducted by William Christie. With his Aphorismes de l'Odeon), Wozzeck (Theatre du Chatelet), Don geometriques in 2005, he revived an ensemble Giovanni (Salzburg Festival) , and Phedre (Theatre of contemporary musical works commissioned de l'Odeon, Ateliers Berthier) . She received the and published by the GMEM/Centre National de "prix de la critique" in 1999/2000 for the light Creation Musicale of Marseille, and is creating design of Quelqu'un va venir by Jon Fosse and in Pasodoble , to premiere July 2007. 2003/2004 for the light design of Variations sur la mort and Pe/Mas et Melisande. She received a Moliere as the best light designer in 2003 for Phedre staged by Chereau. She has worked with choreographers Jean-Claude Gallotta (La solitude du danseur, l'Opera de Lyon, 1995; Les variations d'U/ysse, l'Opera Bastille, 1995; Nosferatu , l'Opera Bastille, 1996); Catherine Diverres (C'est poussieres, Quartz and Theatre de la ville, 1993); L'ombre du ciel (Theatre National de Bretagne, 1994; Th eatre de la Ville, 1995); Hercules libretto

George Frideric Handel Hyllus : At length the rev'rend flamen full of the deity, prophetic spoke.

Ouverture Sa. Aria Hyllus : I feel, I feel the god he swells my breast Menuet before my eyes the future stands confest: I see the valiant chief in death la id low Act 1 and flames aspire from Oeta's lofty bro~. SCENE 1

Sb. Recitativo 1. Accompagnato Hyllus : He said; the sacred fury left his breast. Lichas : See, with what sad dejection in her looks, and on the ground the fainting prophet fell. indulging grief, the mournful princess sits, Dejanira : Then I am lost. 0 dreadful oraclel she weeps from morning's dawn to shades of night my griefs hang heavy on my lab'ring soul , from gloom of night to redd'ning blush of morn, and soon will sink me to the realms of night. uncertain of Alcides destiny, There once again I shall behold my Hercules disconsolate his absence she laments. or whirl the lance, or bend the stubborn bow or to the list'ning ghosts his toils recount. ' 2. Aria Lichas : No longer fate, relentless frown Ga . Aria preserve great Jove the Heroe's life. Dejanira : There , in myrtle shades reclin'd, With glory's wreath his actions crown by streams that through Elysium wind and, 0 1 restore him to his weeping wife. in sweetest union, we shall prove No longer fate, relentless frown .. eternity of bliss and love.

3 . Accompagnato Gb. Recitativo Dejanira : 0 Herculesl why art thou absent from me? Hyllus : Despair not; but let rising hope suspend, return, return , my Hero, to my arms! excess of grief, 'till I have learnt the certai nty o gods! how racking are the pains of absence, of my dea r father's fate. Tomorrow's sun to one, who loves, who fondly loves , like me! shall see your Hyllus bend his pious steps, to seek the Heroe through the travel I'd globe. 4a. Aria If yet he lives, I will restore him to you, Dejanira : The world, when day's career is run or perish in the search. in darkness mourns the absent sun. So I depriv'd of that dear light, 7. Aria that warm'd my breast and cheer'd my sight, Hyllus : Where congeal'd the northern streams deplore in thickest gloom of grief bound in icy fetters , stand, ' the absence of the valiant chief. where the sun's intenser beams scorch the burning Lybian sand: 4b. Recitativo by honor, love, and duty led, Lichas : Princess ! be comforted, and hope the best: with adventurous steps I'll tread. a few revolving hours may bring him back, once more to bless your longing arms. 8a. Coro Dejanira : Ah! no! impossiblel he never will return . o filial piety! 0 generous love Lichas : Forbid it, Heav'n! and all ye guardian pow'rs, go, youth inspired, thy vi rtue prove: that watch o'er virtue, innocence, and lovel Immorta l fame attends thee and pitying heav'n befriends thee 4c. Recitativo o filial piety! 0 generous love ' Dejanira : my son! dear image of thy absent sire go, youth inspired, thy virtue prove. what comfort bringst thou to thy mother's ear: Hyllus : Eager to know my fathers destiny; 8b. Recitativo I bade the priests, with solemn sacrifice Lichas : Banish your fears. Alcmena's godlike son explore the will of heav'n. Th e altar smo'k'd lives, and from sack'd Oechalia, which his arms the slaughter'd victim bled. When, lo! arou~d, have level'd with the ground , returns a conqueror! the hallow'd walls a sudden glory blaz'd. Dejanira : 0 joyful news! welcome as rising day Th e priest acknowledg'd the auspicious omen to the benighted world, or falling show'rs and own'd the present god. When, in a moment to the parch'd earthl Ye lying omens, hence! the temple shook, the glory disappear'd, hence, ev'ry anxious thought! and more than midnight darkness veil'd the place Lichas : 'twas dreadful all! Hercu les libretto

9a. Aria the sword inflict the deadly wound. Dejanira, Begone, my fears fly hence away, He bleeds, he falls in agony, like clouds before the morning ray: dying he bites the bloody ground. My Heroe found Peaceful rest, peaceful rest, dear parent shade with laurel crown'd, light the earth be on thee laid, heav'n relenting in thy daughter's pious mind fate con senti ng all thy virtues enshrin'd. springing joys my griefs control; and rising transports swell my soul 14b. Recitativo Begone , my fears ... Hercules: Now farewell arms! from hence the tide of time shall bear me gently down to mellow age. 9b. Recitativo From war to love I fly, my cares to lose Uchas : A train of captives, red with honest wounds, in gentle Dejanira 's fond embrace. and low'ri ng on their chains, attend the conqueror, but, more to grace the pomp of victory, 15. Aria the lovely lole, Oechalia's princess, Hercules: The god of battle quits the bloody field with captive beauty swells the joyful triumph. and useless hang the glitt'ring spea r and shield; Hy/lus : My soul is mov'd for the unhappy princess, while all-resign'd to conqu'ring beauty's charms and fain, methinks, I would unbind her chains, he gives a loose to love in Cytherea's arms. but say, her father, haughty Eurytus? Uchas : He fell in single combat, by the sword of 16. Coro Hercules. Crown with festal pomp the day Dejanira : No more but haste and wait thy Lord's arrival. be mirth extravagantly gay, Uchas : How soon is deepest grief exchang'd for bliss. bid the grateful altars smoke bid the maids the youths provoke 10. Aria to join the dance while music's voice Uchas : Th e smiling hours, a joyful train tells aloud our rapturous joys. on silken pinnions waft again the moments of delight. Returning pleasures banish woe Act 2 as ebbing streams recruited flow; SCENE 1 and day succeeds to night, The smiling hours ... 17a. Symfonie

11a. Coro 17b. Recit Let none despair, relief may come, though late, lole : Why was I born a princess, rais'd on high and heav'n can snatch us from the verge of fate. to fall with greater ruin? had the gods made me the humble tenant of some cottage, 13a. Marche I had been happy.

13b. Recitativo 18a . Air Hercules: Thanks to the pow'rs above! but chief to thee lole : How blest the maid ordain'd to dwell father of gods l from whose immortal loins with sweet content, in humble cell, I drew my birth! Now my long toils are o'er, from cities far remov'd and Juno's rage appeas'd with pleasure now, by murm'ring rills on verdant plains, at rest , my various labors I review ; to tend the flocks, with village swains by e'vry swain belov'd 13c. Recitativo though low, yet happy in that low estate Oechalia's fall is added to my titles, and safe from ills, which on a princess wait and points the rising summit of my glory How blest the maid .. fair princess! weep no more, forget these bonds, in Trachin you are free as in Oechalia. SCENE 2 lole : Forgive me generous victor, if a sigh for my dead father, for my friends, my country 18b. Recit will have its way, I cannot yet forget, Dejanira : It must be so! Fame speaks aloud my wrongs, that such things were and that I once enjoy'd them. and ev'ry voice proclaims Alcides' falsehood Love, jealousy, and rage at once distract me! 14a. Aria lole : What anxious cares, untimely, thus disturb lole : My father! ah methinks I see the happy consort of the son of Jove? Hercules libretto

Oejanira : Insulting maid! I had indeed been happy Trifles , light as floating air, but for the fatal luster of thy beauty. strongest proofs to thee appear; Jealousy' inferna l pest 19a. Air tyrant of the human breast. Oejanira : When beauty sorrow's liv'ry wears, our passions take the fair one's part. SCENE 3 Love dips his arrows in her tears and sends them pointed to the heart, 22b. Recit When beauty .. Hyl/us : She knows my passion, and has heard me breath my amorous vows; but deaf to the soft plea 19b. Recit rejects my offer'd love. See, where she stands, lole : Whence this injust suspicion? like fair Diana circled by her nymphs. Oejanira : Fame of thy beauty (so report informs me) lole : Too well, young prince, first brought Alcides to Oechalia's court. I guess the cause, that this way'leads your steps. He saw he lov'd he ask'd you of your father Why will you urge a suit, I must not hear? his suit rejected, in revenge he leveWd love finds no dwelling in that hapless breast, the haughty town, and bore away the spoil: where sorrow, and her gloomy train, reside but the ri ch prize, for which he fought, and Hyl/us : The stealing hand of all subduing time conquer'd was lole. may drive these black intruders from their seat, lole : Ah' no' it was ambition, and leave the heav'nly mansion of thy bosom not slighted love, that laid Oechalia low, serene, and vacant to a softer guest. and made the wretched lole a captive. lole : And think'st thou, lole can ever love Report, that in the garb of truth disguises the son of Hercules, whose arms depriv'd her, the blackest falsehoods, has abused your ear of country, fath er, liberty? Impossible' with a forget tale but, a! let me conjure you, Hyl/us : lawn the truths, that blast my springing hopes for your dear peace of mind, beware of jealousy! yet a permit me, charming maid, to gaze on those dear beauties, that enchant my soul, 20a. Air and view; at least, that heav'n, I must despair to lole : Ah! think what ills the jealous prove: gain. adieu to peace, adieu to love, lole : Is this the son of Hercules exchang'd for endless pain! for labors fam'd, and hardy deeds of arms? With venom fraught, the bosom swells, o prince, exert the virtues of thy race, and never ceasing discord dwells, and call forth all thy father in thy soul. where harmony should reign. Ah! think ... 23a. Air lole : Banish love from thy breast 20b. Recit 'tis a womanish guest Oejanira : It is too sure that Hercules is false. fit only mean thoughts to inspire. Bright glory invites thee 20c. Recit fair honor excites thee Lichas : Alcides false' impossible. to tread in the steps of thy sire. Banish love ... 21a. Air Lichas : As stars, that rise and disappear 23b. Recit still in the same bright circle move Hyl/us : Forgive a passion, which resistless sways so shines unchang'd thy heroe's love ev'n breasts immortal. nor absence can his faith impair The breast where gen'rous valour dwells 24. Air in constancy no less excel Is. Hyl/us : From celestial seats descending As stars, that rise ... joys divine awhile suspending gods have left their heav'n above 21b. Recit to taste the sweeter heav'n of love. Oejanira : In vain you strive his falsehood to disguise Cease my passion then to blame, Lichas : This is thy work, accursed jealousy! cease to scorn a godlike flame, From celestial seats ... 22a . Chorus Chorus: Jealousy! infernal pest 2Sa. Chorus tyrant of the human breast, Chorus: Wanton god of amorous fires how from slightest causes bred wishes sighs and soft desires, dost thou lift thy hated head. all nature's sons thy laws maintain Hercules libretto

o'er liquid air and swelling main, to your bright beams, he made appeal ; extends thy uncontrol'd and boundless reign. with end less night his falsehood seal.

SCENE 4 28b. Recit Oejanira : Some kinder pow'r inspire me to regain 25b. Recit his alienated love! and bring the wand'rer back! Oejanira : Yes, I congratulate your titles sweWd Ha! lucky thought! I have a garment dipt with proud Oechalia's fall but, o! I grieve in Nessus' blood, when from the wound he drew to see the victor to the vanquish'd yield. the barbed shaft, sent by Alcide's hand . How lost, alas' how faWn from what you were! It boasts a wond'rous virtue, to revive your fame eclips'd, and all your laurels blasted . th'expiring flame of love so Nessus told me , Hercules: Unjust reproach! no, Dejanira, no when dying to my hand he trusted it. while glorious deeds demand a just applause. I will prevail with Hercules to wear it and prove its magic force 26a. Air and see the herald Hercules: Alcides' name in latest story fit instrument to execute my purpose' shall with brightest luster shine Oejanira : Lichas, thy hand shall to the temple bear And future heroes rise to glory a rich embroider'd vest, and beg thy lord by actions emulating mine will instant o'er his manly shoulders throw Alcides' name .. his consort's gift, the pledge of reconcilement.

26b. Recit 2gb. Recit Oejanira : Oh glorious pattern of heroic deeds' Oejanira : But, see the princess lole! Retire , the mighty warrior, whom not Juno's hate be still my jealous fears, and let my tongue nor a long series of incessant labors, disguise the torture of my bleeding heart could e'er subdue, a captive maid has conquer'd! o shame to manhood! oh disgrace of arms. SCENE 5

27a. Air 29c. Recit Oejanira : Resign th y club, and lion's spoils, Oejanira : Forgi ve me, princess, if my jealous frenzy and fly from war to female toils, too rough ly greeted you , I see and blame, for the glittering sword and shield th e error that misled me to insult the spindle and the distaff wield that innocence and beauty. Thund'ring Mars no more shall arm thee, lole : Thank the gods, glory's call no more shall warm thee that have inspir'd your mind with ca lmer thoughts, Venus and her whining boy and from your breast remov'd, the vu lture jealousy! shall all thy wanton hours employ. Live, and be happy in Alcide's love Resign thy club .. while wretched lole ... Oejanira : Princess, no more' but lift those beauteous eyes 27b. Recit to the fair prospect of returning happiness. Hercules: You are deceived, some villain has belied At my request Alcides shall restore you my ever faithful love and constancy. to liberty, and your paternal throne. Oejanira : Would it were so, and that the babbler fam e had not through all the Grecian cities spread 30a. Duet the shamefui tale! Oejanira : Joys of freedom, joys of pow'r Hercules: The priests of Jupiter wait upon the coming hour prepare with solemn rites, to thank the god and court thee to be blest. for the success of my victorious arms: lole : What heav'nly pleaSing sounds I hear, the ready sacrifice, expects my presence. how sweet they steal upon my ear I go meantime let th ese suspicious sleep, and charm my soul to rest. nor causeless jealousy ala rm your breast. Oejanira : Dissembling, false, perfidious Hercules! 30b. Recit did he not swear, when first he woo'd my love, Oejanira : Father of Hercules, great Jove, succeed the sun should cease to dawn, the silver moon this last expedient of despairing love. be blotted from her orb, e're he prov'd false? 31. Chorus 28a. Air Chorus : Love, and Hymen, hand in hand , Oejanira : Cease, ruler of the day, to rise, come, restore the nuptial band nor, Cynthia, gild the ev'ning skies And sincere delights prepare Hercules libretto

to crown the hero and the fair. along my fev'rish veins Love , and Hymen .. like liquid fire, the subtle poison hastes. Boreas , bring thy northern blast and thro' my bosom roar, Act 3 or, Neptune, kindly pour ocean's collected flood SCENE 1 into my breast and cool my boiling blood. I rage with more than stygians pains 32a. Simfony Boreas or Neptune, cool my boiling blood.

32b. Recit 35c. Recit Lichas : Ye sons of Trachin , mourn your valiant chief, Hyl/us : Great Jove, relieve his pains! return'd, from foes and dangers threat'ning death , to fall inglorious by a woman's hand. 36. Recit acc First Trachinian : 0 doleful tidings Hercules: Was it for this unumber'd toils I bore? Lichas : As the heroe stood o Juno and Eurystheus, I absolve ye; prepared for sacrifice, and festal pomp your keenest malice yields to Dejanira's, adorn'd the temple these unlucky hands mistaken cruel treacherous Dejanira. presented him, in Dejanira's name, o this curst robe! it clings to my torn sides, a costly robe, the pledge of reconcilement and drinks my vital blood With smiles that testified his rising joy, Hyl/us : Alas' my father Alcides o'er his manly shoulders threw Hercules : My son observe thy dying sire's request; the treacherous gift but, when the altar's flame while yet I live, bear me to Oeta's top; with warmth began to dew his moisten'd limbs, there, on the summit of that cloudcap'd hill, the clinging robe, by cursed art invenom'd , the tow'ring oak, and lofty cypress fell, through all his joints dispers'd a subtle poison. and raise a funeral pyre upon it lay me Frantic with agonizing pain, he flings then fire the kindling heap, that I may mount his tortur'd body on the sacred floor on wings of flame, to mingle with the gods. then strives to rip the deathful garment off, Hyl/us : 0 glorious thought! worthy the son of Jove! but, with it, tears the bleeding, mangled flesh ; Hercules: My pains redouble-o! be quick, my son , his dreadful cries the vaulted roof returns! and bear me to the scene of glorious death Hyl/us : How is the hero fall'n! 33a. Air Lichas : 0 scene of unexampled woe 37. Air o sun of glory sunk so low Hyl/us : Let not fame the tidings spread what language can our sorrow tell to proud Oechalia 's conquer'd wall: gallant unhappy chief farewell. The baffled foe will lift his head and triumph in the victor's fall, 33b. Recit Let not fame First Trachinian : 0 fatal jealousy! 0 cruel recompense of virtue in severest labors tried' SC ENE 3

34. Chorus 38a. Recit acc. Chorus: Tyrants , now, no more shall dread Oejanira : Where shall I fly? where hide this guilty head? on necks of vanquish'd slaves to tread. o fatal error of misguided love horrid forms of monstrous birth o cruel Nessus! how art thou reveng'd! again shall vex the groaning earth wretch that I am! by me Alcides dies all fear of punishment is o'er these impious hands have sent my injur'd the world's avenger is no more. lord untimely to the shades let me be mad chain me, ye furies, to your iron beds, SCEN E 2 and lash my guilty ghost with whips of scorpion. See! see! they come! Alecto with her snakes, 35a. Recit acc. Magaera fell , and black Tisiphone' Hercules: 0 Jove what land is this what clime accurst, See the dreadful sisters rise! by ragging Phoebus scorch'd? their baneful presence taints the skies, I burn, tormenting fires consume me. See the snaky whips they bear o I die, some ease, ye pitying pow'rs . what yellings rend my tortur'd ear Hide me from their hated sight 35b. Air friendly shades of blackest night Hercules : I rage, with more than stygians pains Hercu les libretto

Alas, no rest the guilty find 42a. Recit from the pursuing furies of the mind. Oejanira : Words are too faint to speak the warring passions, that combat in my breast grief, wonder, joy, SCENE 4 by turns deject and elevate my soul Priest of Jupiter: Nor less thy destiny illustrious maid! 39b. Recit is Jove's peculiar care, who thus decrees: Priest of Jupiter: Princess, rejoice! whose heav'n directed hand 42b. Recit acc. has rais'd Alcides to the court of Jove Priest of Jupiter: Hymen with purest joys of love shall Oejanira : Speak, Priest! what means this dark, crown mysterious greeting? Oechalia's princess and the son of Hercules. that he is dead and by this fatal hand too sure, alas! my bleeding heart divines. 42c. Recit Priest of Jupiter: Borne by this own command to Oeta's Hyllus : How blest is Hyllus, if the lovely lole, top, stretch'd on a funeral pile, the hero lay, consenting, ratifies the gift of heav'n. the crackling flames surround his manly limbs lole : What Jove ordains, can lole resist? when lo! an eagle stooping from the clouds, swift to the burning pyre his flight directs; 43a. Duet these lights a moment then, with speedy wing, lole : 0 prince, whose virtues all admire regains the sky. Astonish'd, we consult since Jove has ev'ry bar remov'd the sacred grove, where sounds oracular I feel my vanquish'd heart conspire from vocal oaks disclose the will of Jove. to crown a flame by heav'n approv'd Here the great sire his offspring's fate declared; Hyllus : 0 princess, whose exalted charms above ambition fire my breast 40. Recit acc. how great my joy, to fill those arms Priest of Jupiter: "His mortal part by eating fires at once with love and empire blest. consum'd, lole : I grieve no more since now I see his part immortal to Olympus borne, all happiness restor'd in thee. there with assembled deities to dwell" Hyllus : I ask no more since now I find all earthly good in thee combin'd. SCENE 5 43b. Recit 38b. Recit Priest of Jupiter: Ye sons of freedom , now, in ev'ry clime, Oejanira : LOI the fair, fatal cause of all this ruin! with joyful accents, sing the deathless chief, Fly from my sight, detested sorc'ress, fly, by virtue to the starry mansions rais'd. lest my ungovern'd fury rush upon thee, and scatter thee to all the winds of heav'n 44. Chorus Alas , I rave! the lovely maid is innocent, Chorus: To him your grateful notes of praise belong and I alone the guilty cause of all. the theme of liberty's immortal song. lole : Tho' torn from ev'ry joy, a father's love, Aw'd by his name oppression shuns the light my native land and dear-priz'd liberty, and slav'ry hides her head, in depths of night by Hercules arms, still must I pity while happy climes to his example owe, the countless woes of this unhappy house. the blessing that from peace and freedom flow To him your grateful notes of praise belong 39a. Air the theme of liberty's immortal song. lole : My breast with tender pity swells at sight of human woe And sympathetic anguish feels, where 'er heav'n strikes the blow. My breast.. Upcoming Events 2006 Spring Season March is The Month of Mark! Mark Morris Dance Group 25th Anniversary Season Choreography by Mark Morris Featuring the MMDG Music Ensemble BAM 's Howard Gilman Opera House Prog A (Mar 8, 9 , 10, 11) V, Gloria , Grand Duo Prog B (Mar 15,17, 18) Four Saints in Three Acts, Dido and Aeneas Prog C (Mar 22, 23-BAM Spring Gala , 25) *Cargo , All Fours, *Candleflowerdance , Going Away Party (*NY Premiere) Additional events (see MMDG.org for info) : Morris & Movies-films chosen by Morris, Solos, Duets, & Trios at Mark Morris Dance BAMcinematek at BAM Rose Cinemas Center (Mar 11 , 18,25) The Month of Mark at BAMcafe live Three unique programs i Music that moves Morris, who also hosts a A Conversation with Mark Morris & Laurie karaoke night! Fri & Sat in March , 9pm Anderson, Rubin Museum, 150 W 17 St, BAMtalk: Morris & Collaborators , with Mar 5 Morris , Isaac Mizrahi, Robert Bordo, & MMDG: The Early Years , photos by Tom Brazil, Maira Kalman , Ma r 6 DTW, 219 W 19 St, Feb 17-Mar 5 BAMdialogue: Mark Morris/Alex Ross , Mar 22 Mark Morris: Portraits , Furman Gallery (next MMDG: Celebrating 25 Years , photos by to Walter Reade Theater, Lincoln Center), Katsuyoshi Tanaka, BAM Natman Room , 165 W 65 St Plaza Level, Mar 2-27 Ma r 3-28

Eat, Drin k & Be Feb 24-Mar 19 Mar 23 Litera ry- Dinner & a Reading at BAMcafe Man of the Dunes: Discovering Mark Morris & Movies Jessica Hagedorn, intvwr Hiroshi Teshigahara Greed Mar 16 John Sayles* Li ve piano accompaniment by Apr 6 Julia Alvarez* Mar 6-30 Donald Sosi n Apr 20 Jonathan Lethem Some Kind of Horror Show May 18 Mary. Gaitskill Featuring special double features, Mar 24 * (sold out) short films, and an opening night Mark Morris & Movies reception sponsored by The Onion Cabin in the Sky Apr 29 BAMfamily Introduced by Ma rk Morris Book Brunch Mar 15 Kid-friendly food, live Cinema Tropical Mar 31 music, a reading, and a AI Otro lado Obsessive Genius: The Inner discussion with author World of Marie Curie* Jacqueline Woodson and Mar 22 Madame Curie illustrator Hudson Talbott Cinemachat with Elliott Stein Recommended for *Q&A with Barbara Goldsmith , Twisted Nerve author of Obsessive Genius ages 8-12

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