11/12 CREATE | PRESENT | CONNECT

Shiva Ganga – Shantala Shivalingappa NOV 8

Program Book 2 of 4

OCT 28, 2011carolina – performing JAN 11, arts 11/122012 1

11/12season / ACKNOWLEDGMENTS 11 12 Carolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Council, Student Body Government and UNC News Services. season Elite Coach is the official transportation provider for Carolina Performing Arts’ artists.

Administrative staff Emil J. Kang – Executive Director Kelly Boggs – Audience Services Manager Rebecca Brenner – Marketing and Communications Coordinator Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development Assistant Reed Colver – Director of Campus and Community Engagement Jennifer Cox – Administrative Assistant Mary Dahlsten – Box Office Manager Tiffany Dysart – Artistic Assistant 8 Gil Shaham, solo violin Butch Garris – Production Manager 12 Samuel Beckett’s Watt – Gate Theatre Dublin Erin Hanehan – Artistic Coordinator Kaitlin Houlditch-Fair – Campus and Community 16 Samuel Beckett’s Endgame – Gate Theatre Dublinperforming Engagement Coordinator Ellen James – Marketing and Communications Manager 20 Shiva Ganga – Shantala Shivalingappa Matt Johnson – Production Manager Mike Johnson – Associate Director 24 Orchestre Révolutionnaire et Romantique, Marnie Karmelita – Director of Artist Relations with Sir John Eliot Gardiner, music director Susan Marston – Accountant Dan McLamb – Tessitura Systems Administrator and conductor Mark Nelson – Director of Marketing and Communications Mark Steffen – Events Manager 28 Still Black Still Proud – Christine Tully – Audience Services Coordinator An African Tribute to James Brown Aaron Yontz – Production Manager 32 Nutcracker – Carolina Ballet

Memorial Hall student staff 34 Brooklyn Rider and The Knights carolina Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, House and Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success. 38 Donor Spotlight

Advertisers Make This Book Possible 39 Board, Endowment, Society This program book would not be possible without the 40 Donors advertisers who support it. Their patronage means this arts information is available to you without cost to Carolina 44 Important Information Performing Arts. We extend our gratitude and encourage you to thank them, as well. 45 Student View 46 The Last Word The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina 47 Advertisers Index Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Kristy Timberlake at (919) 834-9441 or [email protected] or [email protected].

carolina performing arts 11/12 3 We all bring our own expectations to each and every performance. There are evenings where we want to lose ourselves in the choreography of a dance or immerse ourselves in the beautiful music of an orchestra. Other times, we may feel frustrated when we don’t comprehend exactly what the artist is trying to convey. If you’ve attended a performance at Memorial Hall, you know that we present performances where the artist challenges us with abstract and sometimes controversial material either in content or context. While performances can often be fun and exhilarating, it is important to remember that these performers do not exist in a vacuum. In fact, the most successful works are those created by artists whose own personal experiences, viewpoints and values are conveyed articulately and concisely through their art. For instance, Angélique Kidjo, who performed in October, endured years of exile for speaking out against the Marxist regime in Benin. Throughout her energetic and soulful concert, she told us about the lessons she learned from her father, such as the importance of understanding other cultures and the critical role of love, compassion

and empathy in making a difference in the world. We would never want Angélique to 2 hold back on her personal opinions, formed from her own experiences, for the sake of making us feel comfortable. In contrast, we also recently presented the U.S. premiere of Water Stains on the Wall by the Cloud Gate Dance Theatre of Taiwan. The work was an abstract meditation of movement, light and shadow. It was much more challenging to grasp and yet spoke volumes about the culture, values and tradition of the people of Taiwan with its movement’s roots in the martial arts, spirituality and calligraphy.

Even if we don’t agree with or understand all that is presented on stage, I hope you will 1 concur that our role at Carolina Performing Arts is to present artists who will engage you in a way that will challenge, inspire and break through the clutter of life’s preoccupations in order to connect more meaningfully with those who we meet every day.

Sincerely, /

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

carolinaperformingarts.org // (919)843-3333 2011 CREATE | PRESENT | CONNECT COMING SOON

fEB 3 Carolina Chocolate Drops, with special guests Luminescent Orchestrii fEB 10 Overtone Quartet, featuring Dave Holland, Chris Potter, Jason Moran & Eric Harland fEB 13/14 Alvin Ailey American Dance Theater fEB 17 Leif Ove Andsnes, piano fEB 24 Christian McBride & Inside Straight MAR 13/14 Amsterdam Baroque Orchestra & Choir with Ton Koopman, conductor MAR 15 Jazz at Lincoln Center Orchestra with Wynton Marsalis, trumpet MAR 20/21 Circa MAR 22 Herbie Hancock 2 1 /

Overtone Quartet, featuring Dave Holland, Alvin Ailey American Dance Theater Herbie Hancock Chris Potter, Jason Moran & Eric Harland

919-843-3333 | carolinaperformingarts.org carolina performing arts 11/12 5 2011 Not quite sure what you want? Sometimes you don’t know until you see it … FEB 3 | Carolina Chocolate Drops NOV 12/13 | Orchestre Révolutionnaire11 et Romantique /12

Still Black Still Proud Béla Fleck and the Cheikh Lô Christian McBride Alvin Ailey American Leif Ove Andsnes, Original Flecktones and Inside Straight Dance Theater piano

High Energy DATE NIGHT

These shows are energetic and loud; come Looking for a fun and relaxing evening out? prepared to get up, stand up, and dance! Bring that special someone, then sit back and enjoy. n Still Black Still Proud – An African Tribute to James Brown n Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, music n Carolina Chocolate Drops with director and conductor special guest Luminescent Orchestrii n Nutcracker – Carolina Ballet n Béla Fleck and the Original Flecktones n Overtone Quartet, featuring Dave n Cheikh Lô Holland, Chris Potter, Jason Moran & Eric Harland

n Alvin Ailey American Dance Theater

n Herbie Hancock

carolinaperformingarts.org // (919)843-3333 11Apr 4/5 | Snow White /– Ballet Preljocaj 1Mar 20/21 | Circa2

Four Electric Ghosts Teatr ZAR Whispering Pines European Union Shantala Göteborg Ballet Youth Orchestra Shivalingappa

BREAKTHROUGH GLOBAL VIEWS

These cutting edge, avant-garde Travel the globe without leaving performances are guaranteed to stir the Triangle. your soul. n Beckett’s Watt & Endgame – n Snow White – Ballet Preljocaj Gate Theatre (Ireland)

n Four Electric Ghosts – n Shiva Ganga – Shantala Shivalingappa Mendi + Keith Obadike (India)

n Whispering Pines – n Circa (Australia) Shana Moulton & Nick Hallett n European Union Youth Orchestra n Teatr ZAR – Gospels of Childhood: with Vladimir Ashkenazy, The Triptych music director & conductor

n Göteborg Ballet (Sweden)

carolina performing arts 11/12 7 “ Go-for-broke passion…silvery tone… meticulously molded phrasing.” – The Washington Post

Gil Shaham, solo violin ♥ Friday, October 28 at 8pm

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

carolinaperformingarts.org // (919)843-3333 classical recital oct 28 Friday, 8pm program Program Partita No. 3 in E Major, BWV 1006...... J.S. Bach Preludio...... (1685-1750) Loure Gavotte en Rondeau Menuet I and II Bourrée Gigue

Sonata No. 3 in C Major, BWV 1005...... J.S. Bach Adagio Fuga Largo Allegro assai

INTERMISSION

Partita No. 2 in D minor, BWV 1004...... J.S. Bach Allemande Courante Sarabande Gigue Chaconne

Mr. Shaham records exclusively for Canary Classics

Program Notes by Katharina Uhde composed his violin solos) and a century later, Violinists and audiences throughout history when his music was rescued from oblivion. have been amazed and dazzled by Bach’s solo Mendelssohn was by far not the only composer violin sonatas and partitas. Quite a number who could imagine Bach’s solo violin work of them had difficulty believing and accepting with accompaniment: Robert Schumann also that these works are, in fact, unaccompanied. composed accompaniment for all six sonatas. The first account of an added accompaniment Further arrangements and accompaniments was written by Robert Schumann, comment- followed throughout the 19th and early ing on the famous violinist at the Leipzig 20th centuries by lesser-known composers Gewandhaus, Ferdinand David, who gave a (Reinecke, Luzzato, Michaud, and Wilhelmj). historic concert: “he played a ciaconna [i.e. chaconne] by J.S. Bach […], about which we During the 19th century, Joseph Joachim have wrongly believed that no additional voices might be among those who most genuinely could possibly be imagined [and composed to understood Bach’s solo violin work and ad- it]. Felix Mendelssohn Bartholdy, by artisti- vocated its performance according to Bach’s cally and wonderfully accompanying David’s score: for solo violin. Being, as he was, a very chaconne on the piano, arguably disproved close friend of Schumann, he once comment- this statement. They played with such mastery ed on the “deep-felt accompaniment” that and perfection, as if the cantor himself had Schumann had provided to the Bach solos. had his hands in this performance.” That this And yet, Joachim declared the accompaniment event marks the first official performance unnecessary, albeit “with a bleeding heart.” of Bach’s chaconne, shows the orientation The chaconne, among few other pieces, of the romantic generation, and proves how remained one of Joachim’s most cherished much performance styles and aesthetics have and most performed works throughout his shifted between 1720 (the year when Bach career. Joachim’s understanding of Bach was

carolina performing arts 11/12 9 an exception at the time and hints at the later Gil Shaham bestsellers that have appeared on record historical movement. charts in the US and abroad. These recordings Gil Shaham is one of the foremost violinists of have earned prestigious awards, including We might wonder why the romantics had our time, combining flawless technique with multiple Grammys, a Grand Prix du Disque, difficulty accepting Bach’s solo violin work inimitable warmth and a generosity of spirit. Diapason d’Or, and Gramophone Editor’s as written. The incentive behind their ar- He is sought after throughout the world for con- Choice. His recent recordings are produced on rangements and transcriptions, one must certo appearances with leading orchestras and the Canary Classics label, which he founded in conclude, is the idea that this music needed conductors, and he regularly gives recital and 2004. They comprise Haydn Violin Concertos an accompaniment to sound complete. ensemble appearances on the great concert and Mendelssohn’s Octet with Sejong Soloists; Albeit insensitive, this notion may originate stages and at the most prestigious festivals. Sarasate: Virtuoso Violin Works with Adele from Bach’s complex counterpoint, which, In the 2011-12 season, Shaham continues his Anthony, Akira Eguchi and Orquesta Sinfónica granted, does not present the listener with long-term exploration of “Violin Concertos of de Castilla y León; Elgar’s Violin Concerto with an easy task. To actively listen to a fugue or the 1930s,” which comprises performances the Chicago Symphony Orchestra and David a chaconne means to mentally engage in at some of the most well-established concert Zinman; The Butterfly Lovers and Tchaikovsky’s the contrapuntal framework. For example, in venues with the world’s greatest orchestras. In Violin Concerto with the Singapore Symphony; Bach’s chaconne many variations conceal the January 2012, he begins the year performing Tchaikovsky’s Piano Trio in A with Yefim theme (the descending tetrachord) to varying Barber’s Violin Concerto with the Hong Kong Bronfman and cellist Truls Mork; The Prokofiev degrees. A thematic bass note might just be Philharmonic and Virginia Symphony. He tackles Album and Mozart in Paris, both with Orli struck once for a brief moment before it must Prokofiev’s Second Violin Concerto in February Shaham; and The Fauré Album with Akira give way to figurations and garlands, which with the New World Symphony and fills out the Eguchi and cellist Brinton Smith. embellish the harmony. The active listener rest of the season giving performances of the can follow and hold these bass notes and Gil Shaham was born in Champaign-Urbana, Hartmann, Berg, and Stravinsky concertos their harmony in her mind, thereby participat- Illinois, in 1971. He moved with his parents with the orchestras of New York, London and ing in creating the contrapuntal framework. to Israel, where he began violin studies with Atlanta, respectively. In October, Shaham brings Musicologist and early Bach biographer Samuel Bernstein of the Rubin Academy of Brahms’s Violin Concerto to Carnegie Hall Spitta fittingly spoke of the chaconne as Music at the age of seven, receiving annual with Orpheus Chamber Orchestra, and later “triumph of spirit over matter,” thus alluding scholarships from the America-Israel Cultural in the season he reprises the concerto with to the unimaginable, almost impossible task, Foundation. Mr. Shaham was awarded an Avery the orchestras of San Francisco, Boston and which the violin is confronted with, given that Fisher Career Grant in 1990, and in 2008 he re- Delaware. This fall also sees Shaham exploring it is primarily a melody instrument. ceived the coveted Avery Fisher Award. He plays several of Bach’s sonatas and partitas for solo the 1699 “Countess Polignac” Stradivarius. Mr. Katharina Uhde studies violin under UNC violin on a US recital tour. Shaham lives in New York City with his wife, professor Richard Luby and is a graduate stu- Mr. Shaham has more than two dozen con- violinist Adele Anthony, and their three children. dent in musicology and performance practice certo and solo CDs to his name, including at Duke University.

carolinaperformingarts.org // (919)843-3333 on Gil Shaham

April Lee

Gil Shaham is performing three selections from J.S. Bach’s Sonatas As a violinist, I am intrigued by the combination of Gil Shaham and and Partitas. Completed in 1720 and published in 1802, the set was Bach’s Sonatas and Partitas in tonight’s performance. I have spent largely ignored even after publication, until the celebrated violinist countless hours listening to recordings of his performances of the Josef Joachim began to perform them. Since then, the Sei Solo – a set, hoping to glean the secret to attaining his flawless technique and “violino senza Basso accompagnato,” as Bach titled them – helped inimitably warm tone, all to no avail. Brilliant and scintillating when the solidify the violin’s role as a solo instrument. These unaccompanied score demands it, dark and melancholy at other times, Shaham’s tone pieces, essential to the violin repertoire, are particularly demanding of and style are unique and effervescent. The best part is that he does the performer because they leave the artist completely exposed, with it all so effortlessly, creating a façade of ease about the music. To see nothing to hide behind. This type of performance requires technical and hear all of these elements materialize in front of me within the mastery of the instrument and leaves no room for lapses in concentra- comforts of our campus is sure to be a delightful occasion. tion. These pieces set the true virtuosos apart from the rest of us. April Lee (’14) studies business administration and economics at UNC. •

carolina performing arts 11/12 11 “Quite simply outstanding...” The Guardian (UK)

Samuel Beckett’s Watt – Gate Theatre Dublin Texts from the novel selected by Barry McGovern Performed at Historic Playmakers Theatre

Wednesday, November 2 at 7:30pm Friday, November 4 at 8pm

The Gate Theatre Dublin performances are made possible, in part, by Performance Benefactor Thomas F. Kearns, Jr.

carolinaperformingarts.org // (919)843-3333 special event Cast 1954. But, curiously, Ireland was the first country Barry McGovern to publish extracts from Watt in the literary maga- zines Envoy and Irish Writing between 1950 and nov 2 & 4 Wednesday, 7:30pm & Creatives 1953. It was while touring Ireland as an actor in Anew McMaster’s company in the early ’50s that Friday, 8pm Director, Tom Creed Harold Pinter read an extract from Watt in one of Costume Design, Joan O’Clery those magazines and became one of Beckett’s Lighting Design, James McConnell greatest champions. Tom Creed Sound Design, Denis Clohessy Watt is for many a difficult book to read, not Gate Theatre: Watt (Dublin Music by Barry McGovern after least because of its seemingly endless lists Theatre Festival, Under the Samuel Beckett and combinations and permutations. But the Radar at the Public Theater, perseverance is worth it and those who give it New York) a chance will find great riches of language and New York: A Note on Watt, by Barry McGovern philosophy and great cause for laughter. It is one Mimic (PS122 as part of COIL 2010) Samuel Beckett wrote of Watt: “It is an unsat- of the few books that have made me laugh out isfactory book, written in dribs and drabs, but loud on public transport. Watt the show is not Other Theatre: Una Santa Oscura by Ian Wilson, it has its place in the series, as will perhaps Watt the book. It is a distillation of the essence Project Arts Centre and Dublin Theatre Festival; appear in time.” It was begun in Paris on Feb. of the book. Much has had to be left out for an Solemn Mass for a Full Moon in Summer, Life 11, 1941, and not completed until 1945. There hour-long show. My earnest hope is that those is a Dream, Attempts on her Life (Best Director are six notebooks in the University of Texas at who enjoy the show, and particularly those who Nomination, Irish Times Theatre Awards), Austin that are full of material which did not don’t, will read the book. It is unlike anything else Dream of Autumn, 4.48 Psychosis (SEEDS 2 end up in the published book. These notebooks you will have read. showcase), Rough Magic; Berlin Love Tour, are extraordinary manuscripts, full of doodles, This stage version of Watt is dedicated to the Say Hi To The Rivers And The Mountains, The drawings and designs – mathematical and memory of my good friend the great New York Heights, The Art of Swimming, The Train Show, otherwise – that tell the tale of the book, so long publisher and book lover, Dick Seaver, who died Dark Week (Judges Special Award Nomination, in gestation. The novel (if that is the word) was in 2009 and who, more than anyone else, was Irish Times Irish Theatre Awards), Soap!, Crave, written in English, his last work in that language responsible for publishing Watt. Integrity, Playgroup; Broken Croí/Heart Briste, before turning to French. He did, of course, write Manchán Magan; All Over Town, Calipo/ in both English and French later. Barry McGovern THISISPOPBABY; The Last Mile, Blue Raincoat; Ian Wilson’s The Handsomest Drowned Man in Watt is the great transition work in Beckett’s Barry McGovern has had a the World with Gavin Friday, Brighton Festival writing, the bridge between the Joyce-influenced long association with the and Centre Culturel Irlandais, Paris; The Coming early work and the great middle period of the work of Samuel Beckett. World, Making Strange; The Case of the Rose late ’40s and the ’50s. Most of the writing of With the Gate Theatre he has Tattoo, Dublin Theatre Festival; Mr Kolpert, Watt took place in the village of Roussillon played Estragon and Vladimir Once Off Productions Rep Experiment, Dublin in the Vaucluse area of Southeastern France in Waiting for Godot, Clov Fringe Festival; Love’s Labour’s Lost, Vinegar between 1943 and 1944 when Beckett was in Endgame and Willie in Tom, Samuel Beckett Centre; The Ideal Homes on the run from the Gestapo because of his Happy Days. He has also played Lucky in Waiting Show, Activate Youth Theatre; Purple, Dublin work with the French Resistance during World for Godot, Krapp in Krapp’s Last Tape, Henry Youth Theatre. War II. He described writing it as “only a game, in Embers, Fox in Rough for Radio II, Words in a means of staying sane.” The house of Mr. Words and Music and directed All That Fall. His Tom is Director of Cork Midsummer Festival. Knott where Watt goes to work is based on two one-man show I’ll Go On (derived from the novels Previously he has been a co-founder and joint houses: mainly Cooldrinagh in Foxrock, County Molloy, Malone Dies and The Unnamable) was Artistic Director of Playgroup, an Associate Director Dublin, the Beckett family home; and, to a lesser produced by the Gate in 1985 and has played of Rough Magic Theatre Company and Theatre extent, the nearby Glencairn, the former home of worldwide, most recently at the 2008 Lincoln and Dance Curator of Kilkenny Arts Festival. Richard “Boss” Croker, a retired Irish-American Center Festival. politician, and, more recently, the residence of Beckett at The Gate Mr. McGovern has lectured, written and given the British Ambassador to Ireland. Watt’s journey masterclasses on Beckett’s work and is frequently The Gate Theatre is syn- on the train is from Harcourt Street Station in asked to give readings of the poetry and prose. onymous with the works Dublin City to Foxrock on the old Harcourt Street The recording of the Three Novels (Molloy, Malone of Samuel Beckett, having railway line, most of which is now a tramline. The Dies and The Unnamable) is available from www. toured productions through- racecourse is Leopardstown. rte.ie/shop. Recent stage work includes Cat on out the world from Beijing to After the war, Beckett tried to have Watt pub- a Hot Tin Roof, Jane Eyre, Death of a Salesman, New York, Sydney to Toronto lished. But it was rejected by all to whom it was Arcadia, Gate Theatre; The Plough and the Stars, and London to Melbourne. In sent. One publisher wrote, “What is it that this Abbey Theatre; Philadelphia Here I Come!, Gaiety 1991, the Gate became the first theatre in the Dublin air does to these writers?” It was eventu- Theatre; and Life is a Dream, Rough Magic. Films world to present a full retrospective of all 19 ally published in August 1953 in Paris by Olympia include Joe Versus the Volcano, Riders to the Sea, stage plays and, later, repeated the festival at Press in collaboration with a group of young Billy Bathgate, Braveheart, Miracle at Midnight, New York’s Lincoln Center and at the Barbican American expatriates, led by Richard Seaver, The General, The Gift of the Magi and Waiting for Centre in London. The Gate also played a major called Collection Merlin (or the Merlin juveniles, Godot (Beckett on Film). In March 2012 he will be role in Dublin’s 2006 Beckett Centenary Festival. as Beckett called them). Later it was published playing Vladimir in a new production of Waiting For In 2007, the Gate toured a critically acclaimed by Grove Press in the United States and by John Godot at the Mark Taper Forum in Los Angeles. season, entitled GATE | BECKETT, to the Sydney Calder in Britain. Watt was banned in Ireland in carolina performing arts 11/12 13 Festival and the following year toured it to Lincoln Center Festival in New York. In 2008, the Gate completed an historic national tour of its land- mark production of Waiting for Godot, which sold out 40 venues throughout the country in the first ever all-Ireland tour. The Gate Theatre has been, artistically and architecturally, a landmark building for more than 250 years. Established as a theater com- pany in 1928 by Hilton Edwards and Micheál MacLiammóir, the Gate offered Dublin audi- ences an introduction to the world of European and American theater and also to classics from the modern and Irish repertoire. It was with the Gate that Orson Welles, James Mason and Michael Gambon began their prodigious acting careers. Today, in its 83rd year, The Gate has become unique in that it has had only two artistic directorates. In 1983, the directorship passed to Michael Colgan under whose guidance the theater continues to represent Ireland at the very highest level of artistic endeavor, receiving numerous invitations each year to major festivals on every continent. The Gate has a close association with the works of Samuel Beckett, the late Harold Pinter, Brian Friel and Conor McPherson to name but a few. Having presented at many major festivals, both internationally and at home, the Gate continues to develop, nurture and promote the works of a diverse range of playwrights and is committed to delivering the very highest quality productions that our audiences have come to expect. Watt and Endgame by Samuel Beckett are presented through special arrangement with Georges Borchardt, Inc., on behalf of the Estate of Samuel Beckett. All rights reserved. David Eden Productions, Ltd. (DEP) (Producer of U.S. Tour) has been one of the leading American organizations devoted to producing international work in the U.S. for more than 20 years. Most recently, DEP has produced North American tours of Galway’s Druid Theatre’s Cripple of Inishmaan, The Walworth Farce and DruidSynge, presenting their productions of The Shadow of the Glen and The Playboy of the Western World. Other recent tours include the Gate Theatre Dublin’s Waiting for Godot, Declan Donnellan’s Twelfth Night, Propeller’s The Winter’s Tale, Piccolo Teatro di Milano’s Arlecchino, the Russian Patriarchate Choir of Moscow, Batsheva Dance Company, and the State Ballet of Georgia with the legendary Bolshoi prima ballerina Nina Ananiashvili. In 2004, David Eden curated Lincoln Center Festival’s Ashton Celebration, a two-week centennial retrospective at the Metropolitan Opera House celebrating master choreographer Sir Frederick Ashton. Other notable projects include U.S. tours of the carolinaperformingarts.org // (919)843-3333 Bolshoi Ballet; festival programs for the Kennedy Center, including Arts of the United Kingdom (2001), Island: Arts from Ireland (2000), and Art of the State: Israel at 50 (1998); and premiere presentations of international theater and dance projects at the BAM Next Wave and Lincoln Center Festivals.

For David Eden Productions, Ltd: Producer, David Eden General Manager, Erica Charpentier Production Manager, Trevor Long Visa Coordinator, Elise-Ann Konstantin Travel Agent, Lori Harrison, Atlas Travel Consultant, Scott Watson Gate Theatre Dublin Administrative Staff Director, Michael Colgan Deputy Director, Padraig Heneghan Head of Production, Teerth Chungh Theatre Manager, David Quinlan Production Manager, Jim McConnell Press & Marketing, Jennifer Higgins & Caroline Kennedy Tour Production Staff Tour Production Manager / Company Manager, Leo McKenna Stage Director, Miriam Duffy Production Coordinator, Valerie Keogh Wardrobe Supervisor, Kiki Beamish Board of Directors David Bunworth (Chairman) Michael Colgan Ingrid Craigie Laurence Crowley Mary Finan Kevin McHugh The Edwards-MacLiammóir Gate Theatre Trust David Bunworth Alan Gray Ronnie Tallon Presented in Association with David Eden Productions, Ltd. The Gate is grateful to The Arts Council for their continued support. The Gate is grateful to be supported by Culture Ireland as part of Imagine Ireland, a Year of Irish Arts in America 2011. The Gate Theatre is a not-for-profit organisation which is administered by the Edwards-MacLiammóir Trust and funded in part by the Irish Arts Council. Registered Charity Number CHY11638

www.gatetheatre.ie

• carolina performing arts 11/12 15 Samuel Beckett’s Endgame – Gate Theatre Dublin Performed at Historic Playmakers Theatre

Thursday, November 3 at 7:30pm Saturday, November 5 at 8pm

The Gate Theatre Dublin performances are made possible, in part, by Performance Benefactor Thomas F. Kearns, Jr.

“Explosively f u n n y…” The Guardian (UK)

carolinaperformingarts.org // (919)843-3333 special event nov 3 & 5 Thursday, 7:30pm & Saturday, 8pm special event

For more information, please see Des Keogh Samuel Beckett’s Watt pages. Gate Theatre: Endgame, Arms and the Man, The Cast Shadow of a Gunman, Two- Hamm, Owen Roe Faced, The Importance of Being Earnest, The Dresser, Clov, Barry McGovern Blithe Spirit, Heartbreak Nell , Rosaleen Linehan House, Charley’s Aunt. Other Nagg, Des Keogh Theatre: The School for Scandal, The Coleen Bawn (transfer to National Theatre, London), Creatives Portia Coughlan, (transfer to Royal Court Director, Alan Stanford Theatre, London), Kevin’s Bed, Abbey Theatre; Set Design, Eileen Diss The Matchmaker, The Love-Hungry Farmer, Costume Design, Joan O’Clery Confessions of an Irish Publican (all adapted from John B. Keane), The Plough and the Stars, Lighting Design, James McConnell My Scandalous Life, Irish Repertory Theatre, Alan Stanford NY; A Great Night for the Irish (Carnegie Hall and Radio City Music Hall); Dancing at Gate Theatre: Directing Lughnasa, Someone Who’ll Watch Over Me, Old credits include own adapta- Wicked Songs, The Best of Friends, DA, USA; tions of Pride and Prejudice, The Matchmaker (Best Actor nominee 2001); The Old Curiosity Shop, The Love-Hungry Farmer (Best Actor nominee Jane Eyre, Oliver Twist and 2004), Edinburgh Fringe; Des and Rosie The Picture of Dorian Gray, Shows, Canaries, Gaels of Laughter, Gaiety which he co-adapted. Other Theatre; Tartuffe, The Pirates of Penzance, productions for The Gate include God of Olympia Theatre; The Stanley Parkers, Druid, Carnage, Present Laughter (transfer to Spoleto Galway; The Quare Land, (Galway Arts Festival Festival 2010), A Christmas Carol, The Real 2010); The Quiet Moment, Belltable, Limerick; Thing, The Deep Blue Sea, Great Expectations, The Sunshine Boys, The Civic, Tallaght. Film/ Private Lives, The Constant Wife, Romeo and Television: Ryan’s Daughter; Ulysses; Bad Day Juliet, A Tale of Two Cities, Lady Windermere’s at Blackrock; The Clinic; Father Ted; Charley’s Fan (1997 and 2005), Cyrano de Bergerac, Aunt; An Ideal Husband; Me Mammy. Radio: An Ideal Husband, The Importance of Being Plays, Comedy Shows and 35 Years presenting Earnest and Endgame. “Music for Middlebrows” on RTE Radio. Other Theater: He is Artistic Director of Second Age Theatre Company for whom he has most Rosaleen Linehan recently directed Hamlet, Philadelphia, Here I Gate Theatre: Endgame, Come! and A Dolls House. He is an Associate Gates of Gold, Happy Days, Director of Pittsburgh Irish and Classical Long Day’s Journey into Night, Theatre for whom he has directed Salome, The Rivals, She Stoops to Betrayal and Celebration. Film: Educating Rita; Conquer, London Assurance, The Irish R.M.; The Treaty; The Hanging Gale; The Double Dealer. Moll Flanders; Kidnapped; The American; Other Theatre: The Beauty Animal Farm; Waiting for Godot. He has written Queen of Leenane, The Young Vic; New Electric a screenplay of The Picture of Dorian Gray. Ballroom, Druid; Juno, City Center; Encores!

carolina performing arts 11/12 17 carolinaperformingarts.org // (919)843-3333 Season; Blood Wedding, Almeida; Tartuffe, of a Gunman, The Cherry Orchard, Romeo Roundabout Theatre, New York; Lost in and Juliet. Other Theatre: Titus Andronicus Yonkers, The Guthrie, Minneapolis; House of (Irish Times Irish Theatre Award Nominee Best Bernarda Alba, Abbey; Olga, Rough Magic. Actor), Siren Productions; The Taming of the Shrew (Irish Times Irish Theatre Award Best Film / Television: About Adam; The Butcher Actor), Copenhagen, Rough Magic; Skylight, Boy; Happy Days (Beckett on Film); The Hilo Landmark Productions; Heavenly Bodies, The Country; Mad About Mambo; Sharpe’s Gold; Peacock; The Gigli Concert, Abbey Theatre The Matchmaker. and tour of Australia. Film/Television: Owen Roe Sensations; Swansong; Wide Open Spaces; When Harry Met Bob; Whistleblower; God’s Gate Theatre: Cat on a Hot Executioner; The Galway Races; Alarm; Pride Tin Roof, God of Carnage, and Joy; Breakfast on Pluto; Intermission; Jane Eyre, Endgame, Frankie Starlight; Michael Collins; When the The Birds, Faith Healer Sky Falls. Val Falvey; Making The Cut; The (Sydney Festival 2009, Last Furlong; Prosperity; In The Shadow of Edinburgh International the North; Ballykissangel; The Ambassador; Festival 2009, Gate Theatre Anytime Now; The Broker’s Man; Loving; Soft 2009 & 2010), Uncle Vanya, Festen (Irish Sand; Blue Seas. Times Irish Theatre Award for Best Actor), Catastrophe (Irish Times Irish Theatre Award • for Best Actor), Great Expectations, Shadow

on Samuel Beckett’s Gate Theatre

Karen O’Brien

I came to know the work of Samuel Beckett in a unique way by studying with a number of scholars and artists who knew him personally. Lauded as a true man of the theater, his plays blend minimalistic setting, economy of language, sense of musicality and appreciation for philosophical ideas. It is perhaps Beckett’s humor that most fully captures the tragic in his works, particularly in his depiction of humanity’s quest for meaning and struggle to survive amid uncertainty. The Gate Theatre has a special relationship with Beckett. In 1991, The Gate became the first theatre to present a festival of Beckett’s theatrical repertoire of 19 plays, and it has continued to revive and tour Beckett’s works every season to critical acclaim across the globe. The Gate’s current tour is part of Imagine Ireland, a year-long initiative to showcase Irish arts across America in 2011. This tour of Endgame and Watt relates to the larger aims of Imagine Ireland to not only gain international recognition for Irish arts but also to inform and be influenced by international cultural conversation. Carolina Performing Arts is one of four venues in which Beckett’s timeless masterpieces will be presented this year. Although I thoroughly enjoy attending productions at the Gate’s 18th century theater building, I am thrilled the company is visiting Carolina. Our welcoming of the Gate gives recognition to Irish arts, provides the experience of international performance, connects us globally and demonstrates the high value Carolina places on advancing broader conversation on international art and culture. Karen O’Brien is a David G. Frey Fellow Assistant Professor of Dramatic Art at UNC. •

carolina performing arts 11/12 19 “Like the dancing glow of a flame, which enlightens us.” – Vogue, Paris

Shiva Ganga – Shantala Shivalingappa Tuesday, November 8 at 7:30pm

carolinaperformingarts.org // (919)843-3333 World Premiere in October 2004 at Théâtre de la Ville / des Abbesses – Paris special event

Program 1. A Prayer song to Vani, Goddess of the Arts. nov 8 2. Surya Stuthi Tuesday, 7:30pm Raga: Sourashtra Rupaka Talam (6 beats) | Choreography: Guru Sri Vempati Chinna Satyam A homage to Surya, the Sun-God, venerated in India at dawn and twilight. “Praise be to you, O Surya, Conceived and Directed by You are the source of all life Shantala Shivalingappa You bless us all equally with your sacred light and warmth, Artistic Advisor You are the supreme witness, We bow to you and offer you our grateful salutations.” Savitry Nair Lighting and Technical Design 3. Ananda Nartana Ganapati and Management Raga: Nattai Aditalam (8 beats) Nicolas Boudier Music and lyrics: Sri Utukkadu Venkatakavi | Choreography: Kishore Mosalikanti Light Technician Ganesha, or Ganapati, is one of the most revered and loved gods in India. Always kind and com- Eric Citony passionate, he is said to be the destroyer of obstacles. Known for his rhythmic use of words and syllables, the composer of this particular song has chosen to describe a dancing Ganesha. And so Sound Technician the choreography depicts the graceful movements of Ganapati’s joyful dance. Vincent Morello 4. Rasalila Orchestra Raga: Madhuvanti Talam : Tishra (3beats) and then Chaturashram (4 beats) J. Ramesh (chant) Music and Lyrics: Sri B.Ramamoorthy Rao | Choreography: Shantala Shivalingappa B.P. Haribabu (Nattuvangam et percussions) N. Ramakrishnan (Mridangam) “O Krishna, the sound of your flute sends a thrill through our bodies! K.S. Jayaram (flute) The beautiful Radha, her heart full of love, longs for you. North American Representative Don’t you hear her ankle bells calling your name? Sunny Artist Management Having dressed in their most beautiful attire, she and her friends wait for you near the banks of the Ilter Ibrahimof, Director river Yamuna. [email protected] Radha awaits you, her heart dancing, just as the moon surrounded by stars, in a sky rendered www.shantalashivalingappa.com restless at the prospect of this romantic encounter. www.sunnyartistmanagement.com Krishna the beloved has arrived, to dance and play with the young gopis, and the entire forest rejoices in his presence. With this song, may all sorrows be forgotten.” Shiva Ganga 5. Talamelam Shiva, the Lord of Dance. In India we say, “Melody is the mother, and Rhythm is the father of music.” The rhythmic system, or His Cosmic Dance creates and sustains Tala, is one of the pillars of Indian classical dance, and based on it, each dance style has developed the Universe. its own distinct use of rhythmic language. Here is a look at the way Kuchipudi uses rhythm. Using The whole of creation is set in motion by the voice as well as their instruments, the two percussionists get into a playful dialogue of rhythmic powerful vibrations emanating from his Dance, expressions. The dancer joins in their conversation, highlighting the typical footwork of this style. the awe-inspiring Tandava, virile, terrible, yet She ends with a dance on a brass plate, a particular feature of Kuchipudi. life-giving. 6. Shiva Ganga If he stops dancing, the Universe dissolves. Choreography: Guru vempati Chinna Satyam, Shantala Shivalingappa Ganga, the Goddess of the sacred river Ganges. The story is as follows: She embodies grace, beauty, fluidity. I. Bhagiratha meditates on Lord Shiva Her dance is the mesmerizing and Raga: Karnataka Shudha Saveri sensual Lasya. Bhagiratha is chosen to call upon Lord Shiva and pray that he accepts to receive the fall of the Ganga on his head, as he is the only one who can withstand the tremendous force of her flow, and soften its In Shiva Ganga, the choreography is inspired by fall on Earth. The first scene shows Bhagiratha in deep meditation, calling the name of Shiva. these distinct yet complementary energies, play- ing with each other to attain the full expression II. Shiva’s Cosmic Dance of their true nature, and staying Raga: Amrutavarshini Talam : Mishra chaapu (7 beats) in balance. In the second scene, Lord Shiva, disturbed and angered by this call, answers with his Cosmic The dynamics of each movement is governed by dance, the Tandava. Finally moved by the sincerity of Bhagiratha’s prayer, Shiva accepts to receive one or the other force, Tandava, the masculine, the Ganges on his head. or Lasya, the feminine. III. Ganga Pravesham Sometimes each one manifests its inherent Raga: Keeravani Talam: Khanda chaapu (5 beats) qualities, giving rise to a particular flavor. Sometimes both merge into one single flow The last scene shows Ganga’s dance. of energy. “I am the daughter of the snowy mountain, she says. I am about to go to Shiva and to let my waters flow onto his great matted locks. My love for Shiva is boundless, and for his sake, I joyfully accept to flow onto the Earth.” carolina performing arts 11/12 21 carolinaperformingarts.org // (919)843-3333 on Shantala Shivalingappa

Afroz Taj

According to the 2010 census, North Carolina is now home to more standing on the rim of a brass plate, often with vessels of water or than 65,000 people of South Asian descent, hailing from India, lamps in her hands. Other dances emphasize emotional expression, Pakistan, Bangladesh, Nepal and Sri Lanka. Just east of Chapel Hill, or abhinaya, in which the dancer tells a story or paints a scene, often the town of Morrisville is now 27% South Asian, according to a recent portraying multiple roles. issue of The Cary News. At UNC, Shantala Shivalingappa will be presenting her piece Shiva With such robust representation in our state, it’s fitting that Carolina Ganga, which evokes two deities: Shiva, who dances the destruction Performing Arts brings exciting performers from South Asia to the and the re-creation of the cosmos; and Ganga, the goddess of the UNC campus each season. This year we will see one of South Asia’s sacred river, who descends from heaven into the matted locks of rising stars in the world of dance, Shantala Shivalingappa. South Shiva’s hair lest she destroy the earth with her impact. Shiva Ganga Asian dance has many classical genres, and Shantala Shivalingappa explores the interaction of the masculine and feminine, and the performs in the distinctive Kuchipudi style. yearning of the human soul for the divine. Originating in the southern Indian state of Andhra Pradesh, Kuchipudi Afroz Taj is an Associate Professor in the Department of Asian Studies. dance has certain features that distinguish it from Bharatanatyam, including the Tarangam dance in which the dancer performs •

carolina performing arts 11/12 23 ♥ Orchestre Révolutionnaire et Romantique with Sir John Eliot Gardiner, music director and conductor Saturday, November 12 at 8pm Sunday, November 13 at 7:30pm

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

“Proud and beaming and full of bursting emotion...” – Los Angeles Times

carolinaperformingarts.org // (919)843-3333 classical ensemble nov 12/13 program Saturday, 8pm/Sunday, 7:30pm November 12 Program Program Notes by Molly Barnes

Overture to Prometheus, Op. 43...... Ludwig van Beethoven November 12 Program ...... (1770-1827) Overture to Prometheus, Op. 43 Symphony No. 4 in B-flat major, Op. 60...... Ludwig van Beethoven Adagio – Allegro vivace At the invitation of Italian choreographer Adagio and librettist Salvatore Viganò, Beethoven Allegro vivace composed music for Viganò’s ballet Die Allegro ma non troppo Geschöpfe des Prometheus (The Creatures INTERMISSION of Prometheus), premiered for Empress Maria Theresa at the Vienna Court Theater in Symphony No. 3 in E-flat major, Op. 55 ...... Ludwig van Beethoven 1801. Beethoven’s first work for the Viennese Allegro con brio theater achieved instant public acclaim, yet Marcia funebre: Adagio assai the Overture is the only section of the ballet Scherzo: Allegro vivace remaining in the active repertory. It portrays Finale: Allegro molto the myth of Prometheus, who was said to have produced two clay statues that became November 13 Program the human race, and who, against Zeus’s orders, stole fire to bequeath to humanity. Overture to Egmont, Op. 84 ...... Ludwig van Beethoven Beethoven’s Overture begins dramatically with ...... (1770-1827) timpani strikes and dissonant chords, which Symphony No. 7 in A major, Op. 92...... Ludwig van Beethoven lead into a noble Adagio appropriate to the Poco sostenuto – Vivace “heroic-allegorical” subject. The subsequent Allegretto Allegro section, characterized by a rapid, Presto distinctive main theme in the strings, has been Allegro con brio said to illustrate Prometheus’s flight from INTERMISSION Olympus after stealing fire from the Chariot of the Sun. Along with the Egmont and Coriolan Symphony No. 5 in C minor, Op.67 ...... Ludwig van Beethoven Overtures, the Prometheus Overture remains Allegro con brio among Beethoven’s most enduring works for Andante con moto the stage. Allegro Allegro Symphony No. 4 in B-flat, Op. 60 The most infrequently performed of his nine symphonies, Beethoven’s Symphony No. 4 has suffered comparative neglect. Positioned between the tremendously celebrated Symphonies Nos. 3 and 5, the work was depict- ed by Robert Schumann as “a slender Greek maiden between two Norse giants.” Indeed, the work exhibits more stylistic similarities with Beethoven’s first two symphonies, which found inspiration in Haydn’s late symphonies. Beethoven composed the Fourth in 1806 and dedicated it to Count Franz von Oppersdorff, a Silesian nobleman related to Beethoven’s patron Prince Lichnowsky. The symphony opens with a slow introduction, whose stealthy, foreboding dissonances intensify anticipation of the lively and lyrical Allegro, marked by a no- table “zigzag” principal theme. Of the Adagio,

carolina performing arts 11/12 25 Berlioz said: “…only amongst the giants of po- struggles. By this point in his career Beethoven Sir John Eliot Gardiner etic art can we find anything to compare with had succeeded in uniting vigorous, dynamic Sir John Eliot Gardiner is this sublime page of the giant of music.” The musical expression with masterful technical one of the most versatile third movement playfully subverts our expecta- fluency, and the Overture toEgmont stands as conductors of our time. tions of rhythm and meter, and the finale is a a testament to this achievement. Acknowledged as a key fig- breathlessly energetic culmination alluding to ure in the early music revival, melodies heard earlier in the symphony. Symphony No. 7 in A, Op. 92 he is the founder and artistic During the summer of 1811 Beethoven’s Symphony No. 3 in E-flat, Op. 55 director of the Monteverdi health was suffering, and under his doctor’s Choir, the English Baroque Soloists and the Some years before he composed his Symphony orders he traveled to the Bohemian spa Orchestre Révolutionnaire et Romantique. No. 3 (“Eroica”), Beethoven is said to have town of Teplice. There he began his Seventh Alongside the activities with his own ensembles, declared to a friend, “From this day forth I shall Symphony, completed in the spring of 1812. John Eliot Gardiner appears regularly as guest forge a new path.” Composed in 1803-1804, Evidently the recuperative period produced conductor with the most important European the “Eroica” manifests one of the striking ex- an extraordinary creative spark in Beethoven, symphony orchestras, including the Vienna and amples of Beethoven’s bold “new path,” with as he said that this symphony was one of his Berlin Philharmonic Orchestras and the London its enormously increased dimensions com- finest works. Debuted in 1813 as part of a Symphony Orchestra. pared to his first two symphonies, astounding charity concert for soldiers injured in the Battle The extent of Gardiner’s repertoire is illus- technical facility, and consistent originality. of Hanau against Napoleon’s troops, it had a trated by over 250 recordings made for major Beethoven had composed the symphony to tremendous reception, with three more per- European companies, which have received honor his revolutionary hero Napoleon, in- formances within ten weeks. Richard Wagner numerous international awards. Most recently, tending to call the work Bonaparte. But after famously called the symphony “the Apotheosis he has been releasing recordings of the 2000 hearing that Napoleon had crowned himself of the Dance itself,” referring to its great variety Bach Cantata Pilgrimage and Brahms sympho- emperor, Beethoven scratched out the honor- of dance-like rhythms. Rhythmic energy indeed nies on his record label, Soli Deo Gloria. ary title, calling it instead Heroic Symphony, drives the symphony; the long introduction composed to celebrate the Memory of a moves through ascending scales to the Vivace, His most recent projects with the Monteverdi Great Man. These circumstances have led to which has an undeniably triumphal quality. ensembles include European tours of Bach’s speculation about the identity of the “hero,” The haunting Allegretto fixates on an unrelent- Motets, Stravinsky’s Symphony of Psalms and some have suggested that the symphony ing theme with a surprisingly simple rhythmic and Monteverdi’s Vespers (1610). He is is autobiographical. Particularly notable in the profile, and moves from faint beginnings into currently continuing a five-year collabora- first movement is the seemingly premature en- a grand climax. The Scherzo and Trio take a tion with the Opéra Comique in Paris, along trance of the horn with the main theme before boisterous romp, with occasional periods of with the Monteverdi Choir and the Orchestre the beginning of the recapitulation, and the calm, and Donald Tovey has described the Révolutionnaire et Romantique. Away from March funebre, depicting the funeral proces- Allegro con brio as containing “Bacchic fury.” his own ensembles, John Eliot Gardiner is in- sion of the fallen hero, which represents the volved in a three-year Beethoven cycle with the first use of the march in a symphony. Symphony No. 5 in C minor, Op. 67 London Symphony Orchestra. Future engage- The Fifth Symphony did not begin public life ments include re-invitations to Covent Garden, November 13 Program auspiciously. It was composed in fits and the Chicago Symphony Orchestra, Royal Overture to Egmont, Op. 84 starts from 1804-1808 as Beethoven’s deaf- Concertgebouw Orchestra, Orchestre National ness grew, against the looming threat of the de France and the Czech Philharmonic. Political allegory finds potent artistic mani- Napoleonic Wars and Napoleon’s 1805 occu- In 1987, John Eliot Gardiner received an festation in Beethoven’s Overture to Egmont. pation of Vienna. The premiere in 1808 made honorary doctorate from the University of When Beethoven composed the overture relatively little impression, as the orchestra Lyon. In 1992 he became an honorary fellow and incidental music to Johann Wolfgang von did not perform well, having had only one re- of both King’s College, London and the Royal Goethe’s play Egmont between 1809 and hearsal. But soon, critics and audiences found Academy of Music. He received a knighthood 1810, Europe was engulfed in the Napoleonic themselves enraptured with the symphony. in the 1998 Queen’s Birthday Honors List. In Wars (1800-1814), during which Napoleon The opening four-note theme of the first move- 2008, he was awarded the Royal Academy of dramatically extended the reach of the French ment is one of the most recognized moments Music/Kohn Foundation’s prestigious Bach empire. Goethe’s historical play Egmont in Western music, and according to legend Prize. In 2010, he was made Chevalier de la (1788) describes the Count of Egmont, a Beethoven characterized the theme as “Fate Légion d’Honneur following his nomination sixteenth-century Flemish nobleman who was knocking at the door.” The theme pervades as Commandeur dans l’Ordre des Arts et des executed for fighting against Spanish domina- and unifies the first movement, and returns Lettres in 1996. tion in the Netherlands. The celebration of the in later movements; hence the symphony’s heroic efforts of the Count of Egmont to resist Sir John Eliot Gardiner appears courtesy of status as the iconic example of the ideal of foreign oppression undoubtedly resonated for Askonas Holt. musical “organicism.” The Fifth has also long Beethoven, whose city of residence, Vienna, been understood as a metaphorical heroic Exclusive Tour Management was twice occupied by Napoleon (in 1805 and journey “from darkness to light,” and has been Opus 3 Artists 1809). The Overture to Egmont proves remark- identified with Beethoven’s own struggles to 470 Park Avenue South, 9th Floor North ably powerful, opening with an unmistakable overcome personal adversity. New York, NY 10016 gravitas, followed by a succession of themes www.opus3artists.com that seem to illustrate Count Egmont’s life and Molly Barnes is a doctoral student and teach- ing assistant in the UNC Department of Music. carolinaperformingarts.org // (919)843-3333 Orchestre Révolutionnaire 2011 USA TOUR ROSTER Trumpets: Neil Brough, Robert Vanryne, et Romantique Michael Harrison Violins: Peter Hanson, Jenny Godson, Alida The Orchestre Révolutionnaire et Romantique Schat, Miranda Playfair, Matilda Kaul, Madeleine Trombones: Adam Woolf, Abigail Newman, (ORR) was founded in 1989 by Sir John Eliot Easton, Marcus Barcham-Stevens, Joanne Cameron Drayton Gardiner to bring to the music of the 19th and Quigley, Martin Gwilym Jones, Bojan Cicic, Timpani: Robert Kendell early 20th centuries the same intensity of Claire Sterling, Fiona Stevens expression and stylistic accuracy found with Orchestre Révolutionnaire et Romantique Roy Mowatt, Jayne Spencer, Iona Davies, his renowned period-instrument chamber Administration Matthew Ward, Anne Schumann, Catherine van ensemble, the English Baroque Soloists. Riitta Hirvonen, General Manager der Geest, John Wilson Meyer, Rachel Rowntree, Julian Clarkson, Orchestra and Choir Manager The ORR has won plaudits for its complete Hakan Wikstrom, Hildburg Williams Marta Grawon, Development Officer cycle of Beethoven symphonies in the 1990s Violas: Judith Busbridge, Tom Dunn, Sophie Palent, Tour Manager – they are now returning to this repertoire for Lisa Cochrane, Oliver Wilson, Stella Mahrenholz Cecile Pauty, Office and Label Manager the first time in nearly twenty years. Another Jessica Beeston, Mark Braithwaite, Cian O Duill Katherine Adams, Librarian of the Orchestra’s outstanding successes has Richard Fitzgerald, Stage Manager been its acclaimed Berlioz interpretations, Cellos: David Watkin, Robin Michael, Lucile PerrinOlaf Reimers, Catherine Rimer, Daisy Vatalaro beginning with the Symphonie Fantastique For Opus 3 Artists at the former Conservatoire de la Musique in Double Bass: Valerie Botwright, Liz Bradley, David V. Foster, President & CEO Paris where the very first performance took Cecelia Bruggemeyer, Markus van Horn Leonard Stein, Senior Vice President, place in 1830. In 1993, it gave the first mod- Flutes: Marten Root, Lina Leon, Director, Tour Administration ern performances of the rediscovered Messe Neil McLaren (Piccolo) John C. Gilliland III, Associate, Solennelle, and ten years later it performed Tour Administration L’enfance du Christ at the Proms and the first Oboes: Michael Niesemann, Josep Domenech John Pendleton, Company Manager complete performances of Les Troyens at the Clarinets: Tim Lines, Fiona Mitchell Châtelet in Paris. Other critically acclaimed recordings include Schumann symphonies Bassoons: Jane Gower, Gyoergyi Farkas, • and music by Verdi, Weber and Mendelssohn, David Chatterton (Contrabassoon) and in 2003, a highly successful dramatiza- Horns: Anneke Scott, Joe Walters, tion of the writing of Beethoven’s Eroica Jorge Renteria Campos, Chris Larkin Symphony with BBC Television. From 2006 to 2008, ORR embarked on an ambitious Brahms project with the Monteverdi Choir, performing Brahms’ music along with works by other composers that might have inspired him. The project was recorded by the ensemble’s dedicated label, Soli Deo Gloria. The Orchestra is currently involved in a five-year collaboration with the Opéra Comique in Paris, during which they have appeared in staged performances of Chabrier’s L’Etoile, Bizet’s Carmen, Debussy’s Pelléas et Mélisande and most recently Weber’s Le Freischütz. Forthcoming performances in 2012-2013 include a tour of Beethoven Missa Solemnis in the USA and Europe, and European perfor- mances of Debussy’s Pelléas et Mélisande and Berlioz’s Damnation of Faust. The world of choirs and period instruments orchestras owes much of its renaissance to the Monteverdi Choir and Orchestra. However, most audiences are unaware that they do not receive any regular public subsidies and are fully dependent on the growing support of individuals to develop and maintain their standard of musical excellence. To learn more about the Friends of Monteverdi and make a donation, please visit www.mon- teverdi.co.uk.

carolina performing arts 11/12 27 Still Black Still Proud – An African Tribute to James Brown Bandleader Pee Wee Ellis, featuring Maceo Parker with special guests Vusi Mahlasela and Cheikh Lô ❖ Wednesday, November 16 at 7:30pm

“Primally explosive funk” – The Independent (UK)

photo credit: Koen Broos carolinaperformingarts.org // (919)843-3333 world music world music NOV 16 Program to be announced from stage. including Common One, Beautiful Vision, A Wednesday, 7:30pm Sense Of Wonder and later returning as horn Program Notes arranger for Days Like This, How Long Has Discovering the points at which African and This Been Going On? and Back On Top. Pee American music strike sparks off each other, Pee Wee reunited with Fred Wesley and Maceo African music. Over a musically and socially Wee Ellis and a host of stars including Maceo Parker, making several albums and touring as consequential career, Vusi has successfully Parker, Vusi Mahlasela and Cheikh Lô bring both The JB Horns and Maceo Parker’s Roots followed his muse and continued to give back James Brown’s revolutionary music full circle Revisited project. Throughout the 1990s, he to his country. As he puts it, “Musicians have in this innovative, rhythm-fueled tribute of Afro- released several solo albums on Minor Music to be like watchdogs, just by seeing and speak- funk. As much as the music of Africa influenced that truly illustrate the depth of his music, ing out, directly to the youth as well, because Brown’s style, he likewise inspired an entire including the jazz trio album Twelve and More we need some kind of cultural revolution to generation of African artists. Brown’s music Blues. More recent albums include Live ’n remove ignorance.” was immensely popular, deeply felt and vastly Funky, Ridin’ Mighty High and SMUNK. Maceo Parker influential in Africa. “Even in the deep bush, the His world music collaborators include Oumou villages, people knew about James Brown,” said Sangare, Cheikh Lô, Cachaito Lopez, Miguel Maceo Parker’s name is Malian singer and guitarist Vieux Farka Touré. “Anga” Diaz and Ali Farka Touré. Pee Wee and synonymous with funky mu- Still Black, Still Proud celebrates Brown’s last- his own band, The Pee Wee Ellis Assembly, sic, his pedigree is impec- ing legacy while exploring the deep relation- regularly tour the UK and Europe. His newest cable and his band is the ship between soul, funk and modern African album is Tenoration (2011), jointly produced tightest little funk orchestra music. Pee Wee Ellis says, “Since the beat with Joachim Becker for Art Of Groove. on earth. He has played came from Africa, we wanted to bring it back with every leader of funk, by way of combining funk with some African Vusi Mahlasela starting with James Brown, jumping aboard rhythms.” Artists from the US and Africa join Known simply as The Voice the Mothership with George Clinton, stretching together in a show that The Boston Globe dubs in his home country, South out with Bootsy’s Rubber Band. He’s the living, “a pancontinental funk-soul supergroup” and Africa, Vusi Mahlasela’s breathing pulse that connects the history of All About Jazz proclaims simply, “explosive.” songs of hope connect funk in one golden thread. Since 2008, Still Black, Still Proud has Apartheid-scarred South The amazing P-funk Parker has been at it with toured the UK, Europe and North America Africa with its promise for a his legendary alto horn for some time dating performing in front of sold-out audiences to better future. Vusi became back to the 1960s. That’s when he and his rave reviews. Previous guest artists include a singer-songwriter and poet-activist at an drummer brother Melvin climbed on board the Fred Wesley, Vieux Farka Touré, Tony Allen early age, later joining the Congress of South James Brown funky soul funk train. It wasn’t and Angelique Kidjo. African Writers. After his popular debut on long before James coined the solo summoning BMG Africa, When You Come Back, he was signature, “Maceo, I want you to blow!” To most Pee Wee Ellis asked to perform at Nelson Mandela’s inau- musicologists it’s the musically fertile group of guration in 1994. After worldwide touring and men from this period of James Brown’s band Pee Wee Ellis was born to international acclaim, Americans first caught who are recognized as the early pioneers of play music. He joined the a glimpse of Vusi in the lauded documentary the modern funk and hip-hop we still jump James Brown Revue in film and accompanying soundtrack.Amandlal: to today. His collaborations over the years in 1965 and co-wrote their A Revolution in Four-Part Harmony. both performing and recording have included first hitCold Sweat, followed Ray Charles, Ani Difranco, James Taylor, De La by many others including Long-time admirer and fellow South African Soul, Dave Matthews Band and Red Hot Chili Say It Loud, I’m Black and Dave Matthews signed Vusi to his own ATO Peppers. His timeless sound has garnered him I’m Proud, Mother Popcorn, Lickin’ Stick and Records label and released The Voice (2003), a fresh young fan base. The Chicken (later made famous by Jaco Guiding Star (2007) and Say Africa (2011), Pastorius). He distilled R&B and wrote com- the latter produced by Taj Mahal and recorded After several years as band leader for the plex, polyrhythmic arrangements that created at Dave Matthews’ studio In Charlottesville, Rhythm and Blues Foundation Awards, Maceo a dialogue with Mr. Brown’s singing. His effect VA. Recent highlights include performing at received a Pioneer Award from the Rhythm on music was huge, leading directly to George Mandela Day to honor Nelson Mandela’s and Blues Foundation for his contribution as a Clinton, Sly Stone and, in a circular twist, Miles birthday, touring with Béla Fleck behind the sideman to the genre of R&B. Since 1999, he Davis’ 1970s work. release of his Grammy-winning album Throw has participated in some of Prince’s ground- Down Your Heart – which features a live track breaking tours when not with his own group. Pee Wee left the James Brown Revue in 1969 from Vusi and Béla – appearances at the TED Working with Grammy winners the WDR Big to work as arranger and musical director for conference and performing with Paul Simon. Band, he broadcast and performed a series of CTI-Kudu records, the most popular jazz label live shows paying tribute to Ray Charles and of the 1970s. He was MD and arranger for In the midst of a busy international touring putting Maceo’s own funky music to a big band Esther Phillips and worked with other CTI art- schedule, Vusi remains dedicated to his setting. This led to his latest release, Roots & ists George Benson, Hank Crawford, Johnny social activism and partnerships with non- Grooves, a live recording taken from these Hammond, Sonny Stitt and Brother Jack profits, including his own Vusi Mahlasela shows that features Dennis Chambers and McDuff. In 1979, he became Van Morrison’s Music Development Foundation, committed Rodney “Skeet” Curtis. musical director, collaborating on albums to the promotion of and preservation of carolina performing arts 11/12 29 Cheikh Lô One of the great mavericks of African music, Cheikh Lô is a superb singer and on songwriter as well as a distinctive guitarist, per- James Brown cussionist and drummer, personalizing and distilling a variety of influences from West and Central David Pier Africa to create a style that is uniquely his own. He dedicates his life and music to Baye Fall, The influence of Africa on music of the Americas is justly celebrated, but few people a Senegalese form of Islam and part of the realize just how influentially music has flowed in the opposite direction. larger Islamic brotherhood of Mouridism. We might begin in the 18th century with the sea shanties brought to the West Born to Senegalese parents in Burkina Faso, African coast by sailors, including the so-called “Black Jacks” – free black men of he listened to all kinds of music, especially American, Caribbean and African origins – envied by landbound blacks on both the Congolese rumba – popular throughout sides of the Atlantic for their unfettered lifestyle and worldly culture. At the end of Africa – and Cuban music, which was all the the 19th century, African-American troupes like Orpheus McAdoo and his Virginia rage in West Africa. At 21, he started singing Jubilee Singers (of Greensboro, N.C.) introduced vaudeville tunes and spirituals to and playing percussion with Orchestra Volta black South African audiences. Living under the yoke of what would eventually be- Jazz in Bobo Dioulasso. In 1981, he moved come Apartheid, these South Africans saw in their sharply dressed, well-educated to Dakar, Senegal where he played drums for American cousins an image to aspire to. Today it is American rappers who inspire the renowned singer Ouza before joining the overseas, especially the late Tupac Shakur, whose painted image broods from the house band at the Hotel Savana. In 1984, he dusty walls of Nairobi and Dar es Salaam, reminding unemployed youth that in their moved to Paris and worked as a studio ses- street struggles they are not alone. sion drummer before returning to Senegal to concentrate on his own music. In this transatlantic music history, a special place must be reserved for James Brown. Brown, touring Africa in the 1970s, encapsulated much of what Africa was Youssou N’Dour first encountered Cheikh Lô feeling about itself in those still heady post-independence years. He was defiant, as a session singer in 1989 and on hearing sophisticated, energized, imperious. He called for a transnational black pride Lô’s own songs, N’Dour immediately agreed that would burn away the low self-esteem imprinted by slave owners and colonial to produce them, resulting in the album Ne masters. South African trumpeter Hugh Masekela, in his autobiography, jokingly La Thiass, which became an instant success. recalls how Brown, arriving at Kinshasa airport for the famous 1974 “Rumble in In 1997, he was awarded Best Newcomer at the Jungle” Ali-Foreman match and all-star concert, insisted on deplaning with the Kora All-African Awards in South Africa and the pomp and circumstance befitting a king. Sadly, the image of the domineering the following year he toured the US as part of modern-day “king” or “big man” was already becoming all too common in Africa, the Africa-Fête line-up that included Salif Keita cultivated by dictators such as Mobutu and Idi Amin, who shared Brown’s oversized and Papa Wemba. In 1999, he received the ego but lacked his commitment to social justice. prestigious Ordre National de Merite de Léon from the President of Senegal. Bambay Gueej James Brown’s music was arguably “African” in ways that mainstream African- came next, co-produced by Nick Gold and American music had not been up until that point. This certainly helps to explain his Youssou N’Dour, followed by Lamp Fall. His overwhelming success on the continent and the many imitation acts that sprang latest album is Jamm. up in his wake. Brown’s main innovation was to pare everything away until only the short rhythmic cycle or “groove” remained. Every instrument (the human voice, the • organ, the saxophone) became percussive and charged with the duty of articulating the rhythmic cycle with absolute precision. The primacy of short rhythmic cycles, strictly kept, is what unifies much African music and makes it distinctive inthe world. Whether performed at a Ghanaian funeral or a James Brown concert, the rhythmic cycle is a matrix for the coordination of many sounds and bodily move- CREATE ments – the audience’s as well as the performers’. If we Americans in the audience tonight feel in sync with the music of our African guests, we owe thanks, in part, to James Brown for reuniting us. PRESENT David Pier is an Assistant Professor in the Department of African and Afro- American Studies at UNC. CONNECT •

carolinaperformingarts.org // (919)843-3333 carolina performing arts 11/12 31 ♥ Nutcracker – Carolina Ballet Saturday, December 3 at 2pm & 8pm Sunday, December 4 at 2pm

“...one of the best story ballets of the past quarter century.” – The Washington Post

carolinaperformingarts.org // (919)843-3333 special event dec 3/4 Saturday 2pm, 8pm & special event Sunday, 2pm

Nutcracker huddles there. Suddenly big mice take over the A Note on the New Production Act I – Christmas Eve room dancing around Clara. Everything seems Carolina Ballet’s new production of The to change before her eyes as the Christmas It is Christmas Eve in the toy shop of Herr Nutcracker features a cast of more than 100 tree begins to grow and life size toy soldiers Drosselmeyer, a mysterious man and marvel- dancers and children accompanied by a live come out of the hallway to fight with the mice. ous inventor of toys; he is also the godfather orchestra of classical musicians, stunning cos- The Nutcracker, who has also grown to life size, of Clara Stahlbaum. Drosselmeyer is putting tumes and lavish redesigned scenery. This year rises from his bed to lead the soldiers in battle the finishing touches on the magical toys he is features new magic designed by illusionist Rick and seems to be in command until the Rat King taking as presents to the Stahlbaum’s annual Thomas and made possible by WRAL-TV when arrives to join the mice and fight the Nutcracker Christmas party. young Clara’s godfather, Dr. Drosselmeyer, one-on-one. He gains the upper hand and just makes toys come to life, people shrink and then Meanwhile at the Stahlbaum’s house the final as it appears that he is about to subdue the reappear out of thin air and characters levitate preparations for their party are taking place Nutcracker, Clara jumps off her the bed and high above the stage. Watch as a Christmas in the parlor as their children, Clara and Fritz, throws her slipper at the Rat King. He becomes tree grows to enormous heights to begin Clara’s peek through the key hole with great anticipa- momentarily distracted, turns and rushes at her journey to the Land of the Sweets, a truly magi- tion to see what their parents are up to. Soon at which point the Nutcracker has found the cal place where it snows indoors, candy canes the guests arrive with their children and there opening he needs to stab the Rat King with his dance and boats fly. Let the holiday magic is much rejoicing at the sight of the lighted sword and win the battle. Christmas tree. The adults greet one another begin as Christmas unfolds through the eyes of Clara falls fast asleep on the Nutcracker’s bed and there is excited speculation among the a child. which glides out of the room into the snowy children about what is in the many packages. evening. The Nutcracker turns into a handsome Carolina Ballet Dr. Stahlbaum divides the children for games young prince as the Snowflakes dance and are and dances; some of the parents join in and Carolina Ballet is one of America’s premiere tossed about by the Northwind. soon the grandparents arrive at the party. arts organizations. Launched as a professional dance company in 1998 under the direction of Refreshments are served and, most important Act II - The Land of Sweets of all, presents are given out. Artistic Director/CEO Robert Weiss, the com- The curtain rises on twelve Chocolate Truffles. pany has since garnered critical praise from Suddenly the room grows dark, taking on an The Sugar Plum Fairy, who rules over this the national and international media, staged ominous feeling. The children become momen- Kingdom of Sweets, makes a regal entrance 87 world premiere ballets and toured interna- tarily confused and scared. Herr Drosselmeyer and dances a charming variation to the tinkling tionally in China and Hungary. Weiss, former mysteriously appears and introduces his ward celesta. The Truffles enclose her in a semi- artistic director of the Pennsylvania Ballet and and nephew to Clara, and she is instantly smit- circle of love. Then leading the Truffles off, the principal dancer at New York City Ballet under ten by him. Drosselmeyer proceeds to entertain Sugar Plum Fairy welcomes the full candy box: the legendary George Balanchine, programs the assembled guests with the most amazing Chocolate and Coffee and Tea sweets, Candy traditional ballets by legendary masters and magical illusions. At the end of his show he Canes, Ribbon Candy and Gingerbread Cookies, new works by contemporary choreographers. presents Clara with a beautiful Nutcracker that and a lovely candy Butterfly. A walnut boat- ar Highlights of Carolina Ballet’s 2011-12 season he made especially for her. In a fit of jealousy, rives with the Nutcracker Prince and Clara. include a new production of The Nutcracker Fritz snatches the Nutcracker out of Clara’s with new magic by illusionist Rick Thomas; the hands, breaking it in the process. Clara is heart- The Prince escorts Clara to the shore and intro- world premieres of Lynne-Taylor Corbett’s The broken but Frau Stahlbaum and Drosselmeyer duces her to the Sugar Plum Fairy. He relates Little Mermaid and Robert Weiss’s new ballet console her. The nephew brings Clara a bed the story of the battle with the mice and she con- set to Beethoven’s Symphony No. 9; the com- for the Nutcracker. She tucks the Nutcracker in gratulates him on the victory and escorts Clara pany premieres of three rarely-performed early and puts the bed under the tree. to a throne. Clara is given numerous sweets to eat as she watches the entertainment. There works by George Balanchine; and the return Dr. Stahlbaum and his wife lead all the guests in follows a series of dances by creatures of the of Carmina Burana, Cinderella, Dracula, The one final dance, Clara dancing with the nephew. candy kingdom, culminating in the grandest Masque of the Red Death and Beauty and the The guests all depart and the family goes off dance of all – a pas de deux with the Sugar Plum Beast to the repertory. to bed. As the room darkens, Drosselmeyer Fairy and her cavalier. returns and fixes the Nutcracker with a magic • wand. Clara enters the room at midnight in her Just as the festivities in the Land of the Sweets nightgown. She goes directly to the Nutcracker have reached their peak, Herr Drosselmeyer and cradles him in her arms. again magically appears, takes Clara in his arms, spins her round and round and round until There is a rustle, the Christmas tree lights we find her asleep on the sofa, with her arms flash off and on and giant mice take over the wrapped around her treasured Nutcracker. room. Frightened, Clara dashes to the sofa and

carolina performing arts 11/12 33 “Forgive the hyperbole, but I’ve seen the future of chamber music and it is Brooklyn Rider...” – Strings Magazine

Brooklyn Rider The Knights Wednesday, January 11 at 7:30pm

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank ♥ the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

carolinaperformingarts.org // (919)843-3333 special event JAN 11 Wednesday, 7:30pm

The Knights The Knights are an orchestra of friends from a broad spectrum of the New York music world program who cultivate collaborative music-making and BROOKLYN RIDER creatively engage audiences in the shared joy of musical performance. Led by an open- String Quartet No. 8 in F Major, K. 168...... Wolfgang Amadeus Mozart minded spirit of camaraderie and exploration, Allegro ...... (1756 – 1791) they expand the orchestral concert experience Andante with programs that encompass their roots in Menuetto the Classical tradition and their passion for Allegro musical discovery. Seven Steps (2011)...... Brooklyn Rider Led by conductor Eric Jacobsen, The Knights Undiú ...... Joâo Gilberto enjoyed a return engagement to the Ravinia ...... (b. 1931) Festival and a trio of concerts in Central Park ...... arr. Colin Jacobsen this past summer. 2011-12 season highlights ...... (b. 1978) include collaborations with New York’s Museum of Modern Art, the Film Society of Lincoln Music of the Roma...... Traditional Center and the 92nd Street Y. The orchestra INTERMISSION toured Germany with cellist Jan Vogler and embarked on its first US tour. The group begins THE KNIGHTS a residency at New York Public Radio’s WQXR Eric Jacobsen, conductor and is featured in The Knights are Coming, a documentary produced by WNET/Thirteen. Symphony No. 5 in c minor, Op. 67...... Ludwig van Beethoven This season The Knights add an album of Allegro con brio...... (1770 – 1827) music by Schubert, Satie and Feldman to Andante con moto their impressive discography and will record Scherzo Allegro Beethoven in their third project for Sony Allegro Classical. Other discs include Lisa Bielawa’s Chance Encounter for Orange Mountain Music and Mozart, the ensemble’s 2010 June Award- winning collaboration with Lara and Scott St. Brooklyn Rider John for Ancalagon. The Knights also can The adventurous, genre-defying string quartet from the exploding array of cultures and artistic be heard on the soundtrack for Francis Ford Brooklyn Rider combines a wildly eclectic energy found in their home borough of Brooklyn. Coppola’s new film, Twixt. repertoire with a gripping performance style During the 2011-12 season, Brooklyn Rider cel- The Knights evolved from late-night chamber that is attracting legions of fans and drawing ebrates its Carnegie Hall debut at Zankel Hall, music reading parties with friends at the critical acclaim from classical, world and embarks on two US tours and its first trip to home of violinist Colin Jacobsen and cellist rock critics. NPR credits Brooklyn Rider with China, with concerts in Beijing and Hong Kong. Eric Jacobsen, who now serve as co-artistic “recreating the 300-year-old form of string In recent seasons, Brooklyn Rider has appeared directors. Among the group’s diverse talents quartet as a vital and creative 21st-century at Lincoln Center as part of the inaugural Tully are composers, arrangers, singer-songwriters ensemble.” The musicians play in venues as Scope Festival, the Cologne Philharmonie, and improvisers who bring a range of cultural varied as Joe’s Pub and Alice Tully Hall in New American Academy in Rome, Malmö Festival influences. The musicians are graduates of York City, Todai-ji Temple in Japan, Library of in Sweden, Spoleto Festival USA, Kimmel elite music schools, and members have Congress, San Francisco Jazz and the South Center in Philadelphia and the US Open Tennis performed as soloists with the New York By Southwest Festival. They’ve appeared with Tournament. Their new CD, Brooklyn Rider Philharmonic, Chicago and San Francisco such artists as songstresses Suzanne Vega and Plays Philip Glass, is one of NPR’s best classi- symphony orchestras. Each opportunity for Christina Courtin, downtown jazz queen Jenny cal albums of the year (so far). Their previous these musicians to perform together as The Scheinman and legendary Irish fiddler Martin albums, Dominant Curve and Passport, also Knights is a special occasion that they con- Hayes. The members of Brooklyn Rider are are favorites of both classical and indie music sider, quite literally, playtime. classically trained musicians who illuminate critics and are available from www.inacirclere- the music of Haydn, Debussy and 300 years of cords.com. “The dazzling fingers-in-every-pie • string quartet repertoire. Veterans of Yo-Yo Ma’s versatility that Brooklyn Rider exhibits is one of Silk Road Ensemble, they also draw inspiration the wonders of contemporary music,” says the Los Angeles Times. carolina performing arts 11/12 35 carolinaperformingarts.org // (919)843-3333 Brooklyn Rider Bass Zachary Cohen Johnny Gandelsman, violin Joseph Bongiorno Colin Jacobsen, violin Nicholas Cords, viola Flute Eric Jacobsen, cello Alex Sopp Christopher Johnson The Knights Oboe Eric Jacobsen and Adam Hollander Colin Jacobsen, James Roe Co-Artistic Directors Clarinet Eric Jacobsen, Conductor Romie de Guise-Langlois Violin Jo-Ann Sternberg Colin Jacobsen Bassoon Johnny Gandelsman Edward Burns Pico Alt Erik Holtje Christina Courtin Damian Primis Keats Dieffenbach Horn Nanae Iwata Michael Atkinson Ariana Kim David Byrd-Marrow Yon Joo Lee Guillaume Pirard Trumpet Adriane Post Josh Frank Sycil Mathai Viola Trombone Kyle Armbrust Tim Albright Nicholas Cords David Nelson Max Mandel Louis Bremer Miranda Sielaff Timpani Cello Michael Caterisano Jane Cords-O’Hara Alex Greenbaum Exclusive Management: OPUS 3 ARTISTS 470 Andrea Lee Park Avenue South Fl. 9 New York, NY 10016 Julia MacLaine

on Brooklyn Rider and The Knights

Lindsay Wilson

Brooklyn Rider and The Knights is one of the most exciting concepts and the creative collaboration of orchestra members through playing, a young musician could dream up: an independent orchestra grown conducting, composing and arranging – simply put – makes for a from a string quartet, self-sustaining in the sense that its foundation great show. is collaboration among some of the most talented (and undeniably In a concert with Brooklyn Rider and The Knights, any flaws of classi- hip) musicians in the country. cal music yield to vitality, purpose and joy. What else would you expect The orchestra challenges tradition without discounting it by program- from an orchestra starting years ago in the form of a sight-reading ming adventurous yet accessible combinations. Take, for example, party? Every developing musician would crave the life of Brooklyn The Knights’ recording of the Shostakovich Cello Concerto with an Rider and The Knights: the ability to convey our love of musical tradi- arrangement of Jimi Hendrix’s “Machine Gun.” It makes perfect tion, the practices we have worked hard to re-create and master and sense to compare the philosophies in Moscow under Stalin and the the freedom to collaborate and explore new music together. U.S. during the Vietnam War. Young musicians understand the need Lindsay Wilson (’10) graduated from UNC-Chapel Hill with a Bachelor to foster new music in order to survive, but we don’t want to let go of of Music degree and a minor in German. the rich musical history we’ve known our whole lives. The Knights find a way to have it all; the grass is green no matter what side they’re on, • carolina performing arts 11/12 37 spotlight francine and benson pilloff

Who would establish a performing arts camp We appreciate experiences that take us out of and painting. Fascinated by the technical chal- for children of all abilities, especially those our comfort zone.” lenges of glassmaking, Benson even learned with special needs? Befriend and visit artists to blow glass himself. Together, they share an Benson hails from Cleveland and Francine in their studios to understand how they create appreciation for all aspects of the allure of from Akron; they met as graduate students at their work? Pull up roots, move to a new part of handcrafted studio glass. Case Western Reserve University. Benson and the country and, before the moving boxes have his law school pals would regularly gather at Francine says, “If you see our collection, you arrived, offer the idea of a museum exhibit the student union after classes. One day as know us.” The objects they collect reflect centered on their collection of art glass? they sat at one end of a long table he spotted their most fundamental values. “Some pieces Meet Francine and Benson Pilloff. Chapel Hill a woman sitting alone at the other end. He are simply beautiful, others make political is fortunate that they chose to call this home, was instantly smitten. Trying to come up with statements, social statements, feminist state- quickly establishing themselves as active an opening line, he jumped at the chance to ments,” she says. and passionate arts patrons for a variety light the cigarette she pulled from her purse. When the couple embraces an idea, an activ- of Triangle institutions, including Carolina They were engaged a week later and that was ity, a need or a person, they do more than most Performing Arts. 47 years ago. might. They get fully involved, volunteering In 2001, the couple decided they wanted to and supporting their passions. Their list of live somewhere warm, and “anywhere but board memberships, event leadership and Florida.” They began their search in Charleston “I feel so grateful for this projects can be intimidating even to the most and worked their way through North Carolina program. It’s added so devoted volunteer. For instance, Francine before settling in Chapel Hill. They soon commissioned an original contemporary became involved with the NC Museum of Art, much richness to our lives ballet in honor of Benson for one of their where Francine joined the Art Society Board. milestone anniversaries. They served on The She encouraged the museum to present an ex- with performances that Pilchuck Glass School board in Seattle (co- hibit of art glass, and in 2005, the NC Museum vary from mainstream to founded by Dale Chihuly) and the Creative of Art exhibited the collections of three North Glass Center of America in Millville, New Carolina couples, including the Pilloffs. experimental and chal- Jersey. Francine chaired The Glass Exhibit at the Cleveland Museum of Art; and served as When Memorial Hall reopened with the launch lenging. We appreciate president of the International Art Alliance for of Carolina Performing Arts in September Contemporary Glass. She also served on the 2005, the Pilloffs were there. The weekend experiences that take us boards of DANCECleveland, Verb Ballets, and featured a ceremony to honor UNC alumnus the Museum of Contemporary Art in Cleveland. Andy Griffith, and concerts by Tony Bennett, out of our comfort zone” Francine is currently serving on the Friends Itzhak Perlman, Pinchas Zukerman, and Board at the Nasher Museum. Together they Leonard Slatkin conducting the NC Symphony. Francine and Benson settled in Cleveland founded and nurtured The Francine and Benson recalls feeling that their new home and raised three sons, who have given them Benson Pilloff Family Playmakers Performing had just gotten a lot more interesting. seven grandchildren. They began collecting Arts Camp, a summer camp in Cleveland. The Pilloffs have supported Carolina Performing commercial art glass, starting with Lalique and Francine is also the founder and first president Arts since 2007 and recently increased their Steuben. But in 1975, they suffered a major of the Ohio Alliance for Contemporary Glass. giving. A brief list of their most memorable house fire and lost everything. Benson recalls The Pilloffs are not just philanthropists of the evenings reveals their eclectic taste and love seeing the shards of glass in the kitchen sink creative arts; they are creative philanthro- of authentically moving experiences: The Blind after the firemen departed with their axes and pists. Carolina Performing Arts is fortunate Boys of Alabama, Yo-Yo Ma and the Silk Road water hoses. The collection was a total loss. to have encountered such wonderful donors Ensemble, and Abigail Washburn and the Francine said that she never wanted to own who have chosen to share their sense of Sparrow Quartet. anything again. adventure, their passion for beauty and excel- “I feel so grateful for this program,” Francine But the adventure and joy of collecting lence, and their imaginative approach to life elaborates. “It’s added so much richness to beckoned, and they soon returned, this time with their new community. our lives with performances that vary from exploring studio glass, photography, sculpture mainstream to experimental and challenging. • carolinaperformingarts.org // (919)843-3333 . Maybe you are a scholar, student, or seasoned patron of the arts who appreciates the value of this exceptional university venue and embraces our commitment to keeping performing arts as one of the pillars of the educational experience at Carolina. Whatever your relationship with Carolina Performing Arts may be, there are many important ways in which you can help sustain this special place and its programs for future generations. Since its founding in 2005, Carolina Performing Arts has benefited from the generosity of countless benefactors who have chosen to support the arts at Carolina. Your gift will help us carry on to inspire future generations. Ticket revenues account for only 45% of the total cost of putting on a performance. The University continues to generously support us, but state funds continue to shrink and competing priorities continue to grow. To provide the same level of programming you’ve come to enjoy, we need your support. We need you to join the friends and supporters listed on the pages that follow in making a gift to Carolina Performing Arts. Make an impact today.

Impact One Today. Make You make a living by what you get. You make a life by what you give. – Winston Churchill

NATIONAL ADVISORY BOARD CAROLINA PERFORMING ARTS SOCIETY The Carolina Performing Arts National Advisory The Carolina Performing Arts Society supports the University’s commitment to invite outstanding profes- Board of alumni and friends guides and champi- sional artists to perform and to teach; to foster a deep appreciation of a wide variety of the performing ons a shared vision of Carolina as the nation’s arts in the University, in the local community, and throughout the region; and to establish Carolina as a leading university in the arts. It is with profound national leader in the performing arts. gratitude that we thank these outstanding and Society members enjoy a variety of special privileges. Annual membership begins at $125. We want to generous volunteers. make your Carolina experience richer, more convenient, and more fun! Thomas F. Kearns Jr., Darien, CT, Chair Performance Benefactor: $15,000 and above Jane Ellison, Greensboro, Vice Chair The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for W. Hodding Carter III, Chapel Hill individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or G. Munroe Cobey, Chapel Hill family who has the opportunity to select and dedicate a particular performance. Carolina Performing Arts Peter D. Cummings, Palm Beach Gardens, FL will thank you for your generous gift by providing: James Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill • All Carolina Performing Arts Society benefits including valet parking and invitations to special Joan C. Huntley, Chapel Hill events throughout the season, as described in The David Lowry Swain Society Sally C. Johnson, Raleigh • Recognition in the season ticket brochure distributed throughout the year Emil Kang, Chapel Hill, ex-officio • Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance Betty P. Kenan, Chapel Hill • Acknowledgment in the donor list for the season and an insert in the performance program that evening Michael Lee, Chapel Hill • Opportunity to meet the artist following the performance (when the artist is available) Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill The David Lowry Swain Society: $10,000-$14,999 Sara McCoy, Chapel Hill The David Lowry Swain Society offers first class benefits throughout the year to those donors who gener- James Moeser, Chapel Hill ously contribute $10,000 or more to the Carolina Performing Arts Society annually. Patricia Morton, Charlotte All benefits listed for Platinum Tier, plus: Josephine Patton, Chapel Hill • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area reserved Earl N. Phillips, Chapel Hill for Swain Society members only Wyndham Robertson, Chapel Hill • Access to exclusive VIP/Stage Door entrance Barbra Rothschild, New York, NY • Personal coat check at the VIP/Stage Door entrance Sharon Rothwell, Ann Arbor, MI • Opportunity to name two seats in Memorial Hall Chancellor Holden Thorp, Chapel Hill, ex-officio • Exclusive access to the Swain Society Concierge Desk at (919) 843‑2231 for assistance with Douglas Zinn, Chapel Hill difficult-to-acquire tickets for all Carolina Performing Arts performances • Assistance with requests for special tours and rental of Memorial Hall for special functions CAROLINA PERFORMING Platinum Tier: $5,000-$9,999 ARTS ENDOWMENT All benefits listed for Gold Tier, plus: • Use of the Pamela Heavner Gallery for your own private reception Through a generous $5 million challenge grant • Opportunity to name a seat in Memorial Hall from the William R. Kenan, Jr. Charitable Trust made in 2005 and the inspirational leadership Gold Tier: $2,500-$4,999 All benefits listed for Silver Tier, plus: of the Carolina Performing Arts Society National • Complimentary reserved parking Advisory Board, generous donors enabled us to • Receptions in the Pamela Heavner Gallery during intermission at each Carolina Performing meet that challenge by the challenge deadline Arts series performance in 2007. • Private tours Carolina Performing Arts has pressing needs to • Exclusive travel opportunities fund the difference between our ticket income Silver Tier: $1,000-$2,499 and the actual cost of presenting our series. All benefits listed for Sponsoring Members, plus: Right now, tickets provide only about 45% of the • Opportunity to purchase single tickets in advance of the general public total cost of presenting artists on our stages. The • Complimentary parking passes for nearby lot best way to ensure financial viability is to build a • An invitation to the season preview reception permanent source of future funding through our • Priority seating for subscriptions to Carolina Performing Arts endowment. Whether it’s through naming a seat Sponsoring Member: $125-$999 ($5,000 gift), creating a named fund ($100,000 • Advance notice of season and individual tickets minimum) or making a deferred estate commit- • Priority subscription processing ment, your endowment gift will guarantee the • An invitation to an annual Society event excellence, variety and breadth of programming, • Member recognition in our program book for all Carolina Performing Arts events the student outreach, and the investment in Undergraduate and Graduate Member: $35 new creations that have become the hallmark of • All benefits and privileges afforded to Sponsoring Members Carolina Performing Arts. Gifts made at these specified levels automatically entitle you to all respective benefits and privileges afforded to University donors in all Annual Giving Leadership programs. carolina performing arts 11/12 39 11/12 season donors ENDOWMENT GIFTS The Mark and Stacey Yusko Dr. Harry Gooder and Ms. Sally Vilas Memrie Mosier Lewis / Performing Arts Fund supporting Mr. and Mrs. William H. Grumbles, Jr. Judith Lilley Leadership Gifts Carolina student arts experiences. Dr. and Mrs. Joseph2011 Gulla in memory of Al Lilley 12 and Pledges Nancy Joyner Harriet and Frank Livingston ($500,000 and above) CAROLINA PERFORMING Mrs. Frank H. Kenan Donald E. Luse Dr. Marcia Anne Koomen Stephen J. and Karen S. Lyons William R. Kenan, Jr. Charitable Trust ARTS SOCIETY ANNUAL GIFTS Diana and Bob Lafferty Stanley R. Mandel Ellison Family Foundation Dayna and Peter Lucas Betty Manning Mr. and Mrs. James Heavner* Contributions received October 1, 2010 to October 1, 2011 as of Keith Mankin and Julia Fielding Alice Dodds May Luther and Cheray Hodges* James and Susan Moeser Anne and Bill McLendon date of printing. Tom Kearns Paul D. and Linda A. Naylor Esteban and Dana McMahan William and Sara McCoy Performance Benefactor Earl N. Phillips, Jr Dr. and Mrs. Travis A. Meredith Anonymous ($15,000 and above) Paula Rogenes and John Stewart Charles and Valerie Merritt Coleman and Carol Ross Adele F. Michal Major Gifts Jane Ellison Sharon Rothwell Anonymous and Pledges Thomas F. Kearns, Jr. Anonymous Jonathan and Dina Mills ($25,000 and above) William and Sara McCoy Lynn Smiley and Peter Gilligan Mary and Ted Moore Wyndham Robertson Michael and Amy Tiemann William Morton Blanche Hamlet Robert H. and Jane McKee Slater Brad and Carole Wilson Barry Nakell and Edith Gugger Anonymous Charles Weinraub and Emily Kass Michele Natale John W. Hughes III Silver Tier Paula Davis Noell Florence and James Peacock David Lowry Swain Society ($1,000 - $2,499) Karl Nordling William D. and Dr. Sally C. Johnson ($10,000 - $14,999) Dr. Etta D. Pisano and Jan Kylstra Wyndham Robertson Mr. and Mrs. Louis Albanese Cathy and William Primack Dr. Joan C. Huntley The Abram Family James and Delight Allen Jolanta and Olgierd Pucilowski Professors Emeriti Charles M. Rebecca and Munroe Cobey Michael Barefoot and Tim Manale Robin and Harold Quinn and Shirley F. Weiss* Sophia S. Cody Neal and Jeanette Bench Elizabeth Raft Shirley J. Berger Ellison Family Foundation Robert Benson Bryna and Greg Rapp Bobby and Kathryn Long Burton and Kathleen Goldstein Dolores Bilangi David and Susan Rosenberg Family Paul and Sidna Rizzo Mr. and Mrs. James Heavner Josef and Eva Blass Foundation of the Triangle Garry and Sharon Snook Luther and Cheray Hodges Kerry Bloom and Elaine Yeh Community Foundation Top of the Hill Restaurant and Brewery Dr. Joan C. Huntley M. Robert Blum Andrew and Barbra Rothschild Elizabeth Willis Crockett Mr. Thomas S. Kenan III William Bolen Lies Sapp Mr. and Mrs. Robert F. Murchison William R. Kenan, Jr. Charitable Trust Priscilla Bratcher Patricia Shaw Dr. Charles B. Cairns & The Family John A. McLendon Robert W. Broad and Mr. and Mrs. Alan C. Stephenson Kimberly Kyser Carol and Rick McNeel Molly Corbett Broad Frank and Geraldine Stutz Amanda Kyser Francine and Benson Pilloff James and Betsy Bryan Dr. Kenneth and Mary H. Sugioka Drs. Michael and Christine Lee Mrs. Sidney Siegel Timothy Bukowski and Naomi Kagetsu Kay and Richard Tarr Anne and Mike Liptzin Mark W. and Stacey M. Yusko Leigh Fleming Callahan Patti and Holden Thorp Deborah and Ed Roach Michael and Diana Caplow Denise and Steve Vanderwoude Lee and Myrah Scott Platinum Tier G. Curtis and Sarah Clark Diane Vannais and Charles Waldren Crandall and Erskine Bowles ($5,000 - $9,999) Anonymous Kay and Van Weatherspoon Luther Dafner and Virginia Wittig Alan Harry Weinhouse Named Endowed Funds Peter D. and Julie Fisher Cummings Jo Anne & Shelley Earp William Whisenant and Kelly Ross ($100,000 and above) Eleanor and James Ferguson Dr. Glen Elder, Jr. and Jesse L. White, Jr. Lowell M. and Ruth W. Hoffman Ms. Sandy Turbeville John and Ashley Wilson The Hamlet Family Performing Arts Jaroslav F. Hulka and Pat and Jack Evans Student Enrichment Fund supporting Barbara S. Hulka Maryann Feldman Sponsoring Member Diane Frazier student engagement with artists. Patricia and Thruston Morton ($125 - $999) Josie Ward Patton David G. Frey The William D. and Dr. Sally C. Mary and Ernie Schoenfeld Paul Fulton Brigitte Abrams and Francis Lethem Johnson Music Enrichment Fund Charles M. Weiss Dr. Rebecca Goz Ed Adkins and Hulene Hill supporting collaborations with the Douglas and Jacqueline Zinn Robert and Dana Greenwood Anonymous Department of Music. Anonymous Cutler and Cristin Andrews Gold Tier Leesie and Bill Guthridge Pete and Hannah Andrews Jim and Ann Guthrie The James Moeser Fund for Excellence ($2,500 - $4,999) Robert Antonio Roberta Hardy and Robert Dale in the Arts supporting artists’ fees Nancy Appleby Richard Hendel for the world’s most recognized and Betsy and Fred Bowman Nina Arshavsky Charles House outstanding performers. J. Matthew Brittain Ingram and Christie Austin Cliff and Linda Butler John and Martha Hsu Peter Baer Hodding Carter and Patricia Derian Deborah Hylton and Leland Webb Larry and Vicky Band The John Lewis McKee Student Ticket Castillo-Alvarez Fund of Triangle Mr. and Mrs. Dick Kahler Linda J. Barnard Endowment Fund encouraging the Community Foundation Lisa and Emil Kang Judith and Allen Barton joy of discovery and the thrill of live Michael and June Clendenin Lisa and Theodore Kerner, Jr., M.D. John W. Becton and performance for Carolina students. Jane and Frederic Dalldorf Mack and Hope Koonce Nancy B. Tannenbaum Shirley Drechsel and Wayne Vaughn Clara Lee James and Mary Beck Frank H. Dworsky Melissa LeVine Donna Bennick and Joel Hasen Mimi and James Fountain Alice and Sid Levinson Pat and Thad Beyle carolinaperformingarts.org // (919)843-3333 James and Martha Bick Frances C. Gravely and Steven and/ Madeline Levine Charles and Judith Smith Sue Bielawski Haig Khachatoorian in honor of Mark Sidell Dana L. Smith 2011Blythe Family Fund Steve Gravely Robert M. Lewis, Jr. 1Jonathan and Martha Smith2 Jack and Jennifer Boger Paul E. Green, Jr. Joan Lipsitz and Paul Stiller Wiley Smith Bollen Family Barbara and Paul Hardin Robert Long and Anne Claude and Sarah Snow Natalie and Gary Boorman Wade and Sandra Hargrove Mandeville-Long Stuart and Harriet Solomon Donald Boulton Anthony Harris Richard Luby and Susan in memory of Ann Swern Craig and Catherine Briner Robert S. and Leonne Harris Klebanow-Luby Daniela Sotres Drs. Ben and Inger Brodey Martha Liptzin Hauptman Mary R. Lynn John and Carol Stamm Frederick and Nancy Brooks in honor of Mike & Annie Liptzin Samuel Magill Gary and Anne Leslie Stevens Ken and Margie Broun Kenneth R. Hauswald Richard Mann Ron Strauss and Susan Slatkoff Raymond Brown Clark and Karen Havighurst Anonymous Leslie and Paul Strohm Betsy Bullen Charles S. Head Mr. and Mrs. Uzal H. Martz, Jr. James and Sandra Swenberg Dr. Leslie Anne Bunce David and Lina Heartinger Karol Mason Sumner and Charlotte Tanson Thomas W. and Gail W. Bunn Gerardo and Jo Heiss Bill and Sue Mattern Sally and Nick Taylor Mr. and Mrs. Edmund S. Burke Hill Family Fund 2 of James O. May, Jr. Colin G. Thomas, Jr. Bob Cantwell and Lydia Wegman Triangle Community Foundation A. Gramling McGill Rollie Tillman Byron Capps Carol Hogue and Gordon DeFriese Tim and Roisin McKeithan Aubrey and Jeanette Tolley Philip and Linda Carl Joan and David Holbrook Daniel D. McLamb M.E. Van Bourgondien Erin G. Carlston and in honor of Professor The Lawrence and Sylvia Mills Susan Wall Carisa R. Showden Marvin Saltzman Family Fund Sue Anne Wells PhD Carolina Home Mortgage Susan Hollobaugh and John Morrison and Barbara Archer Wellspring Fund of Triangle Catharine Carter Richard Balamucki Benny and Ann Morse Community Foundation Michael Case and Lewis Dancy Paul Holmes Charles Mosher and Pamela St. John Marlene and Roger Werner Steve and Louise Coggins Beth Holmgren and Mark Sidell Christopher and Helga Needes Barbara Smith White Thomas Cole Elizabeth M. Holsten John and Dorothy Neter John W. Williams, Jr. and Carolyn M. Conners W. Jefferson Holt and Elisabeth and Walter Niedermann Margaret Gulley Donna Cook and Matthew Kate Bottomley Patrick and Mary Norris Oglesby Louise B. Williams and Richard Silva Maciejewski Andrew and Charlotte Holton Newland and Jo Oldham Glenn and Helen O. Wilson Jay and Barbara Cooper James and Elizabeth Hooten Vickie Owens Ron and Beverly Wilson Joanne and Michael Cotter Mitchell and Deborah Horwitz Bob and Joan Page Bill and Amy Wofford Andrew Cracker David and Sarah Hubby Michele Pas Eliza M. Wolff in memory of Deborah George William Huntley III Dick and Jean Phillips John and Joan Wrede Ann Cracker Gayle Hyatt Raymond Phillips, Jr. Anna Wu and George Truskey Anne-Marie Cuellar Marija Ivanovic Joel and Victoria Pineles Virginia Lee Wu William and Barbara Dahl Christopher and Betsy James Carlyn and Ivan Pollack David and Dee Yoder Arthur S. and Mignon R. DeBerry Drs. Konrad and David and Peggy Poulos Betty York Christianna Williams and Hannelore Jarausch Dr. and Mrs. Thomas E. Powell III Ann B. Young Henrik Dohlman Donald and Debra Jenny Lilian and James Pruett Mr. and Mrs. Michael J. Donoghue Kathryn E. Johnson Teresa Prullage Undergraduate and Graduate Mike and Linda Dore Dr. Norris Brock Johnson Susan and Vikram Rao Student Members Steven Dubois and Kathleen Barker in honor of Ms. Beatrice Brock Ivan Remnitz Sam and Angela Eberts Beth Jonas and Michael Fried Barbara Rimer ($35) Susan Egnoto Carrilea McCauley Joy Gerry Riveros and Gay Bradley Lauren Alexander Class of 2011 Nancy J. Farmer and Everette James Michael and Judy Kadens Dr. Michael and Sandra Roberts Madalyn Alexander Class of 2011 Mrs. Frederick A. Fearing Fred Kameny Stephen and Patricia Roberts Geoffrey Geist Rabbi Frank and Patricia Fischer Harry Kaplowitz Russell and Ann Robinson Adrian Greene Jaroslav and Linda Folda In honor and recognition of your Stephen and Esther Robinson Laura Hamrick Milton and Emerita Foust dedication and service, NetApp Andrea Rohrbacher Katie Harris Linda Frankel and Lewis Margolis thanks Joanna Karwowska Margaret Rook Charles McLaurin Douglas and Judy Frey Hugon Karwowski Richard Rosenberg John D. Millett James and Marcia Friedman John and Joy Kasson Susan Rota Katey Mote Jeffrey Funderburk Joan and Howard Kastel Brian and Linda Sanders Anne Ruff Mr. and Mrs. J. Rex Fuqua Donna B. Kelly John Sarratt and Cynthia Wittmer Lauren Schultes Maeda Galinsky in memory of Georgia Carroll Kyser Robert Schreiner Evan Shapiro Greg Gangi Andrei Khlystov and Irina Lebedeva Ms. Marjorie Moses Schwab Emily Simon The Joseph and Anna Brian and Moyra Kileff Carol and David Sclove David Spanos Gartner Foundation J. Kimball King Jennifer and Bill Selvidge Claire Thomson Susan Gerard Lynn Knauff Robert and Pearl Seymour Hope Thomson Ann and David Gerber Gary Koch Robert Shipley Brendan and Tamara Watson Leonard and Ann Gettes Barncy and Betsi Koszalka David and Jacqueline Sices Christopher Wright Mike and Bonnie Gilliom Anonymous Robert and Helen Siler Johanna Gisladottir G. Leroy Lail Mr. and Mrs. Keith Silva Lallie M. and David R. Godschalk Barbara and Leslie Lang Mark and Donna Simon OTHER CONTRIBUTIONS Dr. James E. Godwin and Annette Langefeld Charles Simpson (Less than $125) Dr. E.A. Campbell Ken and Frankie Lee Rosemary Simpson Anya Abashian Class of 2011 Charles and Karen Goss Amy and Alan Levine David Sink Stephen Abdo

carolina performing arts 11/12 41 11/12 season donors Tanya Adderson-Davidson O. Ganley Elizabeth Lokey Jane Stein / Dede Addy Debra Garcia Melissa Lomax Lauren Stevens Jenna Alexy Butch Garris Susannah Long Class of 2011 Laurence Augustine Stith Jr. Amber Kathleen2011 Alsobrooks Lindsey Genut Amy E. Lucas Stuart Lee Stroud 12 Katelyn Ander William D. George Jr. Richard Lupton Xiaowu Sun James and Susan Anthony Marge Glaser in memory of Mildred C. Lupton, Thor Svendsen Denise Porterfield Ashworth Mr. Shalom Goldman M.A. 1969 Ellyn and Jimmy Tanner Katherine Baer Anna Devin Graham Dr. Patrick T. and Elaine L. Malone Shaw Terwilliger Mr. Baird Lynne Graham Sara K. Mamo John Thomas O. Gordon Banks Chauntel Graves Janet Mason John B. Thomas Arnold Barefoot, Jr. Kelsey Greenawalt Anuja Mathur Franklin and Janice Thompson Mr. Ignatius Amedaus Beard Jr. Douglas Griffin Kevin and Karen Mattingly Rod Thompson Kurt Becker Ephraim Gur Paul McCarthy Gregory Timmons Danny Bell Ayca Guralp Emily McCloy Charleton Torrence III Dr. Stephen A. Bernard Jerry and Kathryn Gurganious Brian McCune John Trexler Mel Bernay Frank and Alma Haluch Deborah McDermott Lindsey Utrata Aditi Bhattacharjee Douglas Nathaniel Harris William and Donna McHenry Daryl Farrington Walker Katherine F. Blackman Wade Harrison John McKeever David Walker Marcus Blakely Lauren Heath Elizabeth McKenna Sheila Reneau Ward Robert Blank Timothy Hefner Shirley McLean Julie Warshaw Kelly Stowe Boggs in honor of Shelby Bond Robert McLeod James Wasson Michelle M. Bordner Anne Heuer Faith Leshea McNeill in memory of Annie Pearl Shaw Thomas and Betty Bouldin Brian Edward Hill Soukaina Mehdaoui Wheaton Family Hope Breeze Gary P. Hill Julie Mikus Dr. Derek and Louise Winstanly Teresa Broome Jonathan Hill Taylor Miles Merrill Wolf David Brown Elise Hobbs Class of 2011 Solon Minton III Adrienne Wollman Class of 2011 Amy Buchan Susan Hogue Christian Moe Manuel and Karen Wortman Aimee Peden Burke Tyler Hoke Coolie and Thad Monroe Lindsay Wrenn Nathaniel F. Bushek Kathleen Hopkins Margaret Moore Duncan Yaggy Jennifer Carbrey Julia Howland-Myers Grant Morine Victor Yamaykin Lawrence and Helen Cardman Marc Howlett Robert Xavier Morrell Sherrie Zweig and Richard Vinegar Dulce Castillo Meghan Hunt Class of 2011 Laura Newman Dr. Gillian T. Cell Kelsey Hyde Thomas Wright O’Brien *irrevocable deferred gift Drs. John and Barbara Chapman Dr. Christopher and Michelle Ingram Ryan and Hannah Ong James and Brenning Cheatham Ms. Elizabeth Crawford Isley Gregory and Carla Overbeck Carolina Performing Arts Ms. Marianne Na-Lee Cheng Jeanine Manes Jackson Elizabeth Pack Staff Contributions John Sung Choi Joy Javits Robert and Martha Paterson Kelly Stowe Boggs Jooyeon Chon Mike Johnson Bettina Patterson Michelle M. Bordner Sandra Cianciolo Chip Johnston Susan Pelletier Priscilla Bratcher James A. Cobb, Jr. Felipe Jolles Patricia Peteler Jennifer Cox Bob Coleman Rebecca Jones Jeremy Peterman Butch Garris George Collias Lauren Josey Class of 2011 Phyllis Post Mike Johnson Ms. Liz Connelly Charles Kahn Joshua Price Emil Kang Linda Convissor Phyllis Kammer Michelle Pujals Daniel D. McLamb Scott Cooley Jason Kang David Rathel Mark Z. Nelson Jennifer Cox Michael Everett Kelly Venu Ravi Mark Steffen Dr. and Mrs. Mason Cox Jr Eliza Kern Mr. and Mrs. William Ray Richard Allen Cox Sharon May Kessler Mary Regan SPECIAL THANKS Laura Crane Anonymous Suzanne Reiss TO OUR SPONSORS Michael Crosa in honor of Mrs. Anne C. Liptzin in memory of Charles Colver Elite Coach Richard Crume Deborah C. Klein Matthew Reyes Class of 2011 University Florist Cynthia Crummey Diana Knechtel Peter Robson James Cryer Martha Knieriem and Sandra Dennis H. Daniel Rogers, Jr. STUDENT TICKET ANGEL Daniel and Elizabeth Deacon Leslie Kreizman Eric McKinley Sain FUND CONTRIBUTIONS Dr. and Mrs. James W. Dean, Jr. Ted and Debbie LaMay Margie Satinsky Received as of October 1, 2011. John and Jill DeSalva John Langstaff Leah Schinasi and Ghassan Hamra Robert and Nancy Deutsch Joel Laskey Eric Schlotterbeck Angel Jennifer Lynn Drag Jeffrey Lawson Marisa Sears ($25,000 and above) Noel and Shelby Dunivant Constance Lazakis Mary Sechriest H. Jack and Betsy Edwards Samuel Lebowitz David and Linda Seiler Robert and Mary Ann Eubanks Paul and Patricia Elstro Brittany Lehman Christy and Joel Shaffer Joseph and Beatrice Riccardo Peter and Susan Erkkinen Joycelyn Powell Leigh Suraj S. Shah Mark W. and Stacey M. Yusko in memory of Lillian Chason Sharon Leonard Tatjana Shapkina Jerry and Adelia Evans Nate Lerner Alexander Silbiger Patron Jeanette Strasser Falk Margot Lester Anne H. Skelly ($5,000 - $9,999) Judith Ferster Alison Linas Simone Smith Elisabeth Fox David Lindquist Gina Song Thomas F. Kearns, Jr. Ms. Vonda Lee Frantz Ray and Mary Ann Linville Timothy Spitzer Mr. Thomas S. Kenan III Ben Fuller Class of 2011 Thomas Logan Mark Steffen carolinaperformingarts.org // (919)843-3333 Booster /Sara Hill Mrs. Sidney Siegel ($2,000 - $4,999) George R. Hodges and Nancy Howard Sitterson Katherine W. Hodges Jane McKee Slater 2011Elizabeth Bennett 1Elizabeth Myatt Holsten 2Harriet and Stu Solomon Terrell Boyle William James Howe Gina Song Patti and Eric Fast John and Martha Hsu Alan Clements Stephenson Paula Flood Dr. Joan C. Huntley Laurence Stith, Jr. Dorothy Shuford Lanier Donald and Debra Jenny Warren and Sara Sturm Kay and Van Weatherspoon Mrs. Frank H. Kenan Dr. Lara Surles Sharon May Kessler John and Joe Carol Thorp Donor Anonymous Patti and Holden Thorp (Less than $2,000) Kimball and Harriet King Mr. and Mrs. John L. Townsend III Jamie Kirsch Caroline Ward Treadwell Hannah Kennedy Albertson Debby Klein David Venable E. Jackson Allison, Jr., MD Gary Koch Shirley Warren K. Dean Amburn Dr. Marcia Anne Koomen in memory of Steven B. & Elizabeth A. Ayers Gregg and Leslie Kreizman Harold E. Warren Linda Barnard Robert and Geraldine Laport Jay and Leslie Walden Allen and Judith Barton John and Katherine Latimer Charles M. Weiss Pat Beyle Jocelyn Leigh Alan Welfare Susan Bickford Dawn Andrea Lewis Barbara Smith White Dolores Bilangi W. Cooper and Lorie Lewis Dr. Judy White Lewis Niles Black Judith Lilley Ronald White Robin Lenee Broadnax Anne and Mike Liptzin Tom and Lyn White Roy Burgess Brock Walker Long Eliza M. Wolff Maria Browne Dayna Lucas Ruth Ann Woodley Meredith Bryson Richard B. Lupton Ron and Ann E. Wooten in honor of Sandra Hardy Bryson Knox Massey Family Douglas and Jacqueline Zinn Leslie Anne Bunce Catherine Mast *Scott Garcia and Aimee Peden Burke Carol and Kenton McCartney Debbie McDermott Donald Capparella William and Sara McCoy Hodding Carter and Patricia Derian G.W. McDiarmid and Robin Rogers *deferred gift Drs. John F. and Barbara H. Chapman Adele F. Michal General and Mrs. Arthur W. Clark Solon and Joy Minton James A. Cobb, Jr. Melanie Ann Modlin Harvey and Kathryn Cosper Michele Natale Richard Craddock Mark and Leslie Nelson Brooke Crouter Ellen O’Brien Dr. James W. Crow Stephen Andrew Oljeski Robert Marion Daniel Josie Ward Patton Elizabeth Chewning Deacon Florence and James Peacock Robin Dial John Atlas Pendergrass M’Liss and Anson Dorrance Kenneth Lawing Penegar Woody and Jean Durham Earl N. Phillips, Jr. Judith Eastman S. Davis and Katherine Phillips Elizabeth H. T. Efird Cathy and William Primack Jane Ellison Teresa Prullage Sharon M. Emfinger John Allen Quintus Nancy J. Farmer and Everette James Charles Ratliff, Jr. Mrs. Frederick A. Fearing Anonymous Eleanor and James Ferguson in honor of Annadele Herman Susan Ferguson Margaret Ferguson Raynor Sandra Strawn Fisher Deborah and Ed Roach in honor of William Beecher Strawn Wyndham Robertson Mimi and James Fountain Margaret Rook George Fowler Mr. and Mrs. Vernon Rosen John W. Fox in honor of Wyndham Robertson Linda Frankel and in memory of Josie William Friday Robertson Harry Garland Rebecca and Rick Rosenberg Rose Marie Pittman Gillikin Andrew and Barbra Rothschild Joan Heckler Gillings Carrie Sandler Jonathan and Deborah Goldberg Bev Saylor Carolyn Bertie Goldfinch Mary and Ernie Schoenfeld Don Gray Ms. Marjorie Moses Schwab Wade and Sandra Hargrove Evan Shapiro David and Lina Heartinger Foy J. Shaw Tim Hefner Thomas Edward Sibley Joyce Williams Hensley Mark Sidell

carolina performing arts 11/12 43 important information

Memorial Hall Box Office Hours No Smoking • Monday-Friday: 10:00am - 6:00pm • Smoking is prohibited inside Memorial Hall and on the UNC campus. • Weekday events: 10:00am - intermission • Weekend events: 12 noon - intermission No Electronic Devices Memorial Hall Box Office • Use of cell phones, beepers and alarms of any kind is prohibited during performances. Please remember to turn these items off The University of North Carolina at Chapel Hill before the performance begins. CB#3276, 114 East Cameron Avenue • Photography, videography and recording devices of any kind are Chapel Hill, NC 27599-3276 prohibited during performances. P: (919) 843‑3333; F: (919) 843‑2012 E-mail: [email protected] Ticket Policies • Tickets may be purchased by phone, fax, mail, in person or online. House Policies • Forms of payment accepted: Visa, MasterCard, UNC OneCard, Late Arrivals cash, personal checks, and travelers’ checks. • Patrons arriving after the start of a performance will be seated at All phone, fax and online orders must be charged by credit card as tickets the discretion of the house staff, typically in between works. will not be held without payment. All sales are final. No refunds or exchanges are allowed. Tickets that go Coat Check unused may be returned to the Box Office no later than one week prior to • This service is available for patrons seasonally and is located on the performance and will be considered a tax-deductible donation. the left side of the main lobby. Memorial Hall is not responsible for A receipt for the donation will be issued. If a performance is cancelled, lost, stolen or damaged items. patrons will be refunded the face value of the ticket. Lost and Found All tickets, other than those purchased in person, will be mailed. Please allow 7-10 days for delivery. All tickets purchased less than seven days • For lost items, please contact the Box Office. For found items, prior to the performance will be held at Will Call. Patrons must present please notify an usher. photo identification to pick up tickets at Will Call. Accessibility Services All persons, regardless of age, must have a ticket for admission to performances. • If a patron has special needs, the Box Office staff should be notified by the patron in advance and arrangements will be made A current mailing address, e-mail address and phone number are required for accommodations. Special needs include, but are not limited when purchasing tickets. to, hearing or sight impairment, the use of a wheelchair, etc. All programs, dates, times and prices are subject to change. Concessions • Concessions are available for purchase in the lobby prior to the performance and during intermission.

• No outside food or beverage is allowed to be brought into Memorial Hall.

carolinaperformingarts.org // (919)843-3333 VIEW nicola vann

I believe the arts are universal. Or rather, to point out to her that they were coming that they can be universally effective. to UNC this year. How many campuses Regardless of language, age, ability, dis- would happen to be having an artist like Not only can we be ability, or experience, art can and will move that visiting? directly involved in people. However, art is not everywhere in Not only do I have opportunities to see the sense that it is not universally sup- the art I already love, but I can also ex- many arts programs ported and created, often abandoned in fa- perience artists in fields with which I’m vor of projects and products where people less familiar. A musician friend of mine on campus, but can see the result in numbers or articles was baffled that I, his instrument-fearing – because you can’t measure inspiration. friend, had already seen Chick Corea, we have constant On Carolina’s campus we are lucky to be Wynton Marsalis, and several other greats examples of some surrounded by the arts. Not only can we be before my first year of college ended. directly involved in many arts programs on All I had to do was pay $10 at the Memorial the greatest artistic campus, but we have constant examples of Hall Box Office window on my way to class, some the greatest artistic endeavors in the and I was holding tickets to see someone endeavors in the world practically across the street from the many people wait their whole lives to see. Old Well. Carolina Performing Arts not only world practically provides singular opportunities for stu- Carolina Performing Arts is an indispens- dents to see performers, but brings these able force in asserting the importance across the street artists right to the University’s doorstep. of the arts here at Carolina, and the role of arts in education. Even with all that I recently had a conversation with my from the Old Well. Carolina has to offer, it would not be the roommate about a unique and profound same without Carolina Performing Arts. theater piece she’d seen over the summer by a company from Poland called Teatr Nicola Vann (’14) is a Dramatic Arts ma- ZAR. She mentioned she wished I could jor, and Community Outreach Director for see them, and it was satisfying to be able LAB! Theatre. •

carolina performing arts 11/12 45 carolina performing arts word robert f. miles

“...the Study Abroad Office offers opportunities to study and to undertake an internship in the world of the performing arts in Dublin.”

In April of this year, during a visit to Paris, Beckett’s writing for the theater has since Study Abroad Scholarship (valued at $5,000) to I spent time in the Montparnasse Cemetery, been claimed by the Irish theatrical ‘canon’, a student enrolled in an approved study abroad reflecting at the tomb of Samuel Beckett. Born celebrated in November by the visit to Chapel program in Ireland that includes a performing in Ireland in 1906, Beckett travelled exten- Hill by The Gate Theatre from Dublin. For many, arts internship. sively in Europe in the 1930s, and chose in attending these performances will reveal for Kudos to Carolina Performing Arts for bringing 1939 to live permanently in Paris and to write the first time Beckett’s tragicomic view of The Gate Theatre and to Jane for creating new in the French language. Sometimes, the flight human existence. For others, it will reinforce opportunities for Carolina students. of creativity is launched by creating distance a well-justified conception of Dublin as one of from one’s original culture and language. And the great theater cities of the world. For the Robert F. Miles is Associate Dean for Study so many of our students who study abroad student interested in pursuing one or both of Abroad and International Exchanges at UNC discover that their engagement with another these conceptions, the Study Abroad Office and an adjunct professor of sociology. cultural world transforms who they are as well offers opportunities to study and to undertake as who they think they are: as Beckett discov- an internship in the world of the performing • ered, to learn to speak, write and think in the arts in Dublin. And, through the generosity French language changed irrevocably what and vision of Jane Ellison, the Study Abroad and how he wrote. Office offers the Elizabeth Malone Roughton

carolinaperformingarts.org // (919)843-3333 word

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