April 2001

2001 Sprin

Andres Serrano. Hooded Warbler II. 2000

BAM Spring Season sponsor:

PHILIP MORRIS ~lA6(8Ill COMPANIES INC. BA 1\/1 Stagphi II Contents • April 2001 Dansez-Vous? 8 France Moves presents programs at BAMcinematek and BAMcafe, as well as two thrilling dance pieces: Philippe Decoufle's Shazam! and Compagnie Montalvo-Hervieu's Le Jardin io io ito ito. By Roslyn Sulcas The Play 's the Thing 16 Director Peter Brook strip-searches the text of Shakespeare's Hamlet to offer the play's bare necessities. By Stan Schwartz Program 25 Upcoming Events 50 BAMdirectory 54

The Tragedy of Hamlet Photo by P. Victor/MAXPPP Co\/or 1\ rtict

Andres Serrano was born in New York City in 1950 and studied art at the Brooklyn Museum Art School from 1967 to 1969. His artworks have been exhibited in galleries and institutions around the world . He has had numerous one-person exhibitions, including "Body and Soul," a traveling exhibition seen in Norway, Germany, and England, and mid-career retrospectives at The Institute of Contemporary Art/Philadelphia and the Groninger Museum/The Netherlands. His photographs have been included in many group shows, with recent exhibitions at the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; New Museum of Contemporary Art, New York City; the Serpentine Art Gallery, London; and the Victoria & Albert Museum, London. He is represented by Paula Cooper Gallery, New York City.

Andres Serrano BAM Photography Portfolio Hooded Warbler II, The Andres Serrano image on the cover is from BAM's new Photography 2000 Portfolio. The portfolio features 11 images donated to BAM by Richard 20" x 24" Avedon, Adam Fuss, Ralph Gibson, Nan Goldin, Timothy Greenfield-Sanders, Courtesy Paula Cooper Annie Leibovitz, Jack Pierson, Richard Prince, Andres Serrano, Cindy Gallery, New York Sherman, and William Wegman. All prints are 20 x 24 inches, signed and For BAMart informa­ numbered in an edition of 40. They will be delivered to buyers in custom­ tion, contact Deborah made linen portfolio boxes designed especially for BAM by John Cheim . The Bowie at pre-publication initial offering is $15,000 + tax and shipping. The portfolio is 718.636.4138 published by Serge Sorokko Ga llery of New Yo rk and San Francisco. 4 As part of the citywide France In France, Philippe Decoufle is virtually a house­ hold name, famous for brilliantly staging the Moves festival, BAM presents two opening and closing ceremonies of the Albertville stunning dance pieces from across Winter Olympics in 1992, and subsequently at­ tracting huge audiences all over the world to the the Atlantic: Philippe Decoufle's exhilarating works created for his company DCA (Defense Contre Avion, or, in English , Defense Shazam! and Compagnie Montalvo­ Against Airplane). Despite his renown, Decou­ Hervieu's Le Jardin io io ito ito. fie's work has not been seen in the U.S. until this season, when BAM presents Shazam! (April By Roslyn Sulcas 25 , 27- 29) as part of France Moves, a citywide festival celebrating French contemporary dance.

"Shazam!" the magician's triumphant cry as he unveils a trick, is an apt title for a Decoufle work, made up of equal parts of dance, circus, mime, illusion, and good old-fashioned showmanship. In fact, Decoufle's first theatrical ambitions cen­ tered around the circus rather than dance-he began attending the Ecole de Cirque in Paris at age 15, then Marcel Marceau's classes in mime, finally going on to study with Alwin Niko­ lais at the choreographer's dance school in Angers. In 1982, when he was 18, a grant en­ Le Jardin io io ito ito Photo by Laurent Philippe abled him to come to New York, where he went

8 on working with Nikolais and took a dance and video workshop with Merce Cunningham and Elliot Caplan. "The workshop made a huge impression on me," says Decoufle. "It taught me the basic rules of perspective and movement." He went back to France energized by New York: "I didn't really think about my own company, but I had lots of ideas. I wanted to make short pieces-like record singles-but I didn't know how to do that in dance." Decoufle joined Regine Chopinot's company, danced with Karole Ar­ mitage, and in 1983 won first prize at the Bag­ nolet Choreography Contest with Vague Cafe. "I had been to watch Bagnolet before," he remarks, revealing an early theatrical sawy, "and I thought, how odd that no one does what is nec­ essary to win! So I decided that I'd do it myself, and it was really very enjoyable."

Bagnolet launched DCA, and Decoufle went on to make several small-scale works over the next few years. "Things happen slowly with me," he says. "I take a long time to create each piece, and Codex, in 1986, was the first work I made that was over an hour long. " Based on an imagi­ nary encyclopedia by Luigi Serafini , "in a non­ existent language, about a non-existent world," Scenes from Shazam! Photos by Bertoux/Enguerand Codex , a popular and critical success, proved a tuming point for Decoufle. "I realized that if you do something in a very serious and organized way, you can carry off the most crazy, illogical things ," he says. He went on to make several more dance pieces, short films, and video cl ips for the bands New Order and Fine Young Canni­ bals, then shot to fame with Albertville. Rejecting most of the commercial offers that subsequently came his way, Decoufle chose to continue work­ ing with his company in the low-key surround­ ings of the working-class Paris suburb of Saint-Denis, where DCA has its headquarters. "I'm not a businessman ," he says, "and I want to do exactly what I want to do."

In Shazamf , which grew from a commission for the Cannes Film Festival 's 50th Anniversary, he has steered away from the elaborate costumes, cartoon imagery, and stage ma'chinery that have characterized much of his work. Instead, he offers us a world wherein illusion and reality are seamlessly interwoven through a magisterial deployment of interactive video, film, and fluid, crystalline dance. Dancers on stage and film

10 challenge our convictions about who is real and chant for composing a piece through short vi­ who isn't; mirrors enlarge perspective and dimen­ gnettes; in the case of Le Jardin, there are a sions; alternately opaque and translucent screens hundred overlapping sequences that display a turn two dancers into four, then eight; impossible breathtaking mix of physical skills and witty sequences on-screen are re-created, movement­ comic flair in conjunction with films that allow perfect, before our eyes moments later. our sense of gravity and logic to be suspended in a riotous amalgam of fact and fantasy. While Decoufle's work is all about sleight-of­ hand, transformation, and illusion, it is also Montalvo attributes much of the imagery of his about detail and timing--elements that trans­ work to his upbringing as the son of immigrant mute individual ideas into a collage of resonantly Spaniards, who fled to Toulouse after the Spanish humorous and poetic images. Set to compelling Civil War. ''At Christmas," he says "my family rhythms by Sebastien Libolt and the band La Tra­ would be surrounded by friends, from all over Eu­ bant (who appear live onstage), Shazam! shows rope and North Africa, who had fought in the war. that technology can reveal an essential humanity: Everyone told stories, danced flamenco, sang, the real magic is made anew at each perfor­ played the mandolin; everyone could be a virtuoso mance by the dancers. for a moment. What I want to convey is this child­ like feeling of jubilant excitement, of joy in life."

Technology and film are also part of Le Jardin io As a teenager, Montalvo signed up for dance io ito ito, a work by the Compagnie Montalvo­ classes, but had no intention of pu rsu i ng a the­ Hervieu, which follows DCA at BAM just a few atrical career. He moved to Paris at age 20 to days later (May 2, 4, 5), also as a part of France study art and architecture, and began to take Moves. Like Decoufle, choreographers Jose classes with the American choreographer Jerome Montalvo and Dominique Hervieu have a pen- Andrews, who was to have a profound influence

Le Jardin io io ito ito Photo by Laurent Philippe

12 upon him . "He integrated Thai, African , Japanese Hervieu in 1988, but soon turned away from dances," says Montalvo. "He made me realize stage performances to work in non-theatrical that dance was an art, and what I thought was a contexts, like a psychiatric hospital, or in town hobby turned into a profession." Montalvo joined squares, creating simple dance sequences for the Ballet Moderne de Paris and began to teach large numbers of people (7,000 on one occa­ in the early 1980s. It was then that he met Do­ sion). "We wanted to democratize art," says minique Hervieu, for whom he began to create Hervieu, "to give people pleasure and change short solos. They won several choreographic their relationship with their bodies and their view prizes and formed the Compagnie Montalvo- of stage performance."

In 1993 Montalvo began working with video imagery-"before it became fashionable," he France Moves at BAMcafe points out. "Technology invades every aspect of Six performances of eclectic programming our life today, but I was interested in putting it to including French-flavored jazz, cabaret, poetic ends', putting technique at the service of dance parties, and altemative music. the imaginary and the sensory." He began to make a series of stage works, using more dancers April 26 each time, and "using film or video as the chain Jean-Michel Pilc Trio: Jean-Michel Pilc, that could link one to the other." With Paradis in piano 1997, he first had access to sophisticated audio­ visual equipment, and the result was a magical April 27 and fantastic parade of figures on-screen and off, Delfine Godin, cabaret singer appearing to mutate in size and shape while per­ forming an extravagant range of dance styles, April 28 from African, jazz, and breakdance to Caribbean Mino Sevelou, percussionist and classical, all set to Vivaldi. The work was an overnight sensation, transforming Montalvo­ May 3 Hervieu from a little-known, fringe ensemble to a Bebe Eiffel, band nationally acclaimed troupe that, since 1998, has been resident at the Centre Chon§graphique Na­ May 4 tional de Creteil, just outside of Paris. Deep Blue Sea (a French Blues band featuring singer-guitarist-performance artist Le Jardin io io ito ito (the title is taken from a col­ Jean-Fra~is Pauvros) lage by Max Ernst) pursues the choreographers' preoccupations with a Baroque sensibility-"a May 5 taste for the heterogeneous, for contrast, a mix of Francis M'bappe, vocals and bass genres"-and a blend of highbrow and lowbrow art: music by Vivaldi and Lunatic Calm, break France Moves at BAMcinematek dancing and ballet, flamenco and hip-hop all May 2 consort happily with floating mermaids, horses Traite d'union (58 mins): Four short films on pointe, a singing Christmas tree, and flamin­ with choreography by Angelin Preljocaj gos on human legs.

May 3 "It's a poetry of juxtapositions," says Montalvo, Insolites (77 mins): Ten short films with cho­ "like our lives and our cities today: cosmopolitan, reography by Pascal Baes, Joelle Bouvier & polyglot, multicultural." Regis Obadia, Nicole & Norbert Corsino, Philippe DecoufIe, Catherine Diverres, Lionel Roslyn Sulcas writes about dance for Hoche, Daniel Larrieu, and Jose Montalvo Dance Magazine, Elle, the New York Times, and the Village Voice.

14

Since the early 1970s, within the peeling with Paul Scofield. A decade later found walls of the Theatre des Bouffes du Nord, Brook, now with the Royal Shakespeare Brook's celebrated theater in Paris, the di­ Company, devising (along with collaborator rector has repeatedly filled the empty space Charles Marowitz) a non-narrative Hamlet of the hauntingly dilapidated 19th-century as part of the director's extended inquiry structure with magical productions. There into Antonin Artaud's Theater of Cruelty. was Jarry's Ubu , Chekhov's The Cherry Or­ (The experimental season ultimately culmi­ chard, a radically scaled-down version of nated in Brook's landmark production of Bizet's opera Carmen, and perhaps most Marat/Sade.) In some ways, the current notoriously, the nine-hour Indian epic The production began with Qui est la? ("Who is Mahabharata, to cite just a few examples. there?"-the first line in Shakespeare's text), The pieces themselves couldn't be more dif­ staged at the Bouffes du Nord in 1995. ferent, yet all productions deftly demon­ This experimental evening comprised a strate Brook's notion of stripping theater to fragmentary exploration into Hamlet as fil­ its barest essentials: a text brought alive tered through the ideas of five contrasting with maximum clarity and emotional truth modern theater theorists : Vsevolod Meyer­ by means of the actor's voice and body. hold, Konstantin Stanislavsky, Artaud, Gor­ don Craig, and Bertolt Brecht. It was this Now the director has turned his attention to experience that was pivotal for Brook. As he one of the most famous plays in all the explains it, "It was in doing Qui est la that I Western canon-Shakespeare's Hamlet. thought, 'Ah! There is a condensed Hamlet Brook's production, performed in English that could be very interesting, relating to with French surtitles for the Parisian audi­ what we did with Carmen.' We had felt that ence, quickly became one of Paris's hottest within the fat Carmen there was a lean Car­ tickets, playing to sold-out houses this past men struggling to get out-and there was winter. And now with its current visit to the one in Hamlet as well. " Brooklyn Academy of Music's Harvey The­ ater, New York theatergoers are having the Adrian Lester opportunity to see what the fuss is all about.

Brook's latest marks the fifth production that he's brought to BAM . In fact, the Har­ vey Theater was remodeled to resemble Brook's Parisian home, the Bouffes du Nord, and it opened with his The Mahab­ harata. In addition, Brook has staged at BAM everything from Chekhov's classic The Cherry Orchard and The Man Who , an adaptation of an Oliver Sacks book, to his 1971 groundbreaking A Midsummer Night's Dream.

Brook's Hamlet-or as he calls it, The Tragedy of Hamlet-hardly marks the direc­ tor's first foray into the world of the Danish prince. In the early 1950s he staged a tra­ ditional production in London's West End

19 But that's not to say that the director went into rehearsal with a set script. "In every­ thing we do there 's only one working prin­ ciple," Brook explains further, "and that is that nothing comes from a blueprint or concept." Hence, the director's "first draft," if you will, was played, discussed, ex­ plored, and rethought in rehearsal with the actors. As Adrian Lester, who plays Ham­ let, puts it: "There were many things in the script that got chucked out and many things that weren't in [Brook's] script that got put back in. It was very much a collab­ orative effort." Brook himself can't sup­ press a smile when he describes the ultimate moment of breakthrough. "It's an astonishing thing. The day when you think, well, we'll never find the form, something comes to a boil. And suddenly, a form emerges." No doubt it's an exhila­ rating moment for all involved, but the di­ rector has a more refreshingly frank way of Peter Brook Photo by Gilles Abegg putti ng it: "It's a rei ief."

The resulting version of Hamlet may have "In everything we do there's purists itching, but Brook fans will no doubt smile knowingly when they walk into the only one working principle: theater and are greeted by an open stage, empty save a few pillows, a few chairs, and nothing comes from a a brightly colored carpet. This Hamlet is performed by a cast of eight actors (and one blueprint or concept." musician), several of whom double up in roles. The group, as usual, is multicultural, a mix of Brook regulars and newcomers. And so commenced a quintessentially Brookian search for what was the true For Lester-a young, black English actor essence of Shakespeare's play-its narra­ perhaps best known to New York theater­ tive, emotional, and moral core cleanly goers for his superb Rosal ind in Cheek by excised from the Elizabethan theatrical con­ Jowl's all-male As You Uke It which was ventions (such as subplots) that normally presented by BAM in its 1994 Next Wave encumber a traditional production. The Festival-this production marks his first search entailed a radical cutting process outing with the director. Lester came to that Brook likens to sculpting. "A sculptor Brook's attention when As You Uke It visit­ starts from a piece of stone knowing that if ed the Bouffes; Brook was immediately you chip away enough you'll suddenly rec­ taken with Lester's quality, and for his part, ognize the form that you somehow felt was the actor couldn't be more sympathetic to laying inside it," he says . Brook's methods of paring down. "Th e play 20 has been done millions of times before," moves, Laertes has been completely cut says Lester, "so what you have to do when until the very end, all in the name of you look at it, as an actor, is agree that the heightening the play's linearity. What audience probably has seen it. So the need emerges is an unmistakably contemporary to simply tell the story is paramount, and Hamlet, sparkling with intellectual clarity that can allow your scissors to cut lines and and emotional truth, utterly devoid of cer­ certain speeches. And even if you go, 'This tain romantic overlays. line is famous! It's wonderful!'-bullocks! If it's not dramatic and doesn't push the ac­ "There is nothing in the play to suggest tion forward at that moment, then it's going what has become an accepted romantic to be put on the shelf." view: that Hamlet is either neurotic, unbal­ anced, weak, suicidal," says Brook. "Every­ Indeed, the action in Brook's Hamlet moves thing suggests that before the play started, forward swiftly, fluidly, cinematically, clock­ this was a young man with every positive ing in at about two and a half hours without quality one could imagine: he's elegant, intermission. All secondary characters are well-dressed, entertaining, amusing, gone. In one of Brook's bolder narrative thoughtful, warm, loving. And if he hadn't

Hamlet Photo by P. Victor/MAXPPP

22 been put on the spot by his father, naturally It's an intriguing question which cuts to the he would have continued to be this kind of heart of the director's striking reinterpreta­ young man. But his destiny was that some­ tion. For Brook, Hamlet is clearly some sort thing would happen miles away, when he of genius capable of expressing extempora­ was at the university, something for which neously "that extraordinarily compact mix­ he was not even remotely responsible." ture of thought, feeling, and reflection"-an apt mirror of Shakespeare's own genius in Clearly, the question of normality is impor­ writing it. But at the very same time, the tant to Brook. He pauses for a moment of prince is still undeniably normal. And that reflection and then continues. "The Queen means, perhaps, that it's the rest of us who says to him at the beginning of the play-a are abnormal. nice, sensitive, warm ladyl-she says to him, 'Why are you still mourning for your father?' Now, who is abnormal there? The Stan Schwartz is a freelance critic who has one who is still mourning after a few written about theater and film for the New months or all the other people around him York Times, Time Out New York, Filmmaker saying a few months is enough?" Magazine, and Film Comment Magazine. 200J Spring

Brooklyn Academy of Music

Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM

Karen Brooks Hopkins Joseph V. Meli llo President Executive Producer

presents St. Matthew Passion Johann Sebastian Bach

Approximate BAM Harvey Theater running time: April 8, 2001 , at 3pm 2 hours and Apri l 10, 11, 13, & 14, at 7:30pm 50 minutes with one intermission Conducted by Paul Goodwin Directed by Jonathan Miller Lighting designed by R. Michael Blanco English performing translation by Robert Shaw Originally produced by Ron Gonsalves

Evangeli st Paul Agnew Jesus Andrew Schroeder Mezzo-soprano Phyllis Pancella Soprano Heidi Grant Murphy Countertenor Daniel Taylor Tenor Richard Clement Baritone Stephen Varcoe

The New York Collegium

Score by arrangement with G. Schirmer, Inc., publisher and copyright owner

Artistic administration consultant Nancy Bankoff Chalifour Casting consultant Felicity Jackson

Major sponsor: Morgan Stanley Dean Witter

Leadership support: The Peter Jay Sharp Foundation and The Andrew W Mel/on Foundation

25 St 1\/1 d tt h P\AL

The New York Collegium

Orchestra I Orchestra " Violin I Violin I Dana Maiben , concertmaster Robert Mealy, concertmaster Antonin Stahly Judson Griffin Lisa Ferguson Lisa Brooke Violin II Violin II Nancy Wilson Leah Nelson Dongmyung Ahn Boel Gidholm Viola Viola David Miller Ronald Lawrence Cello Cello Myron Lutzke Loretta O'Sullivan Violone Viol one Jay Elfenbein (+ viola da gamba) Joelle Morton Organ Organ Edward Brewer James David Christie Flute Flute Sandra Miller (+ recorder) Anne Briggs Wendy Rolfe (+ recorder) Catherine Folkers Oboe Oboe Stephen Hammer Virginia Brewer (+ oboe d'amore) (+ oboe d'amore , oboe da caccia) Jane McKinley (+ oboe d'amore) Kathleen Duguet (+ oboe d'amore, oboe da caccia)

Chorus Chorus I Chorus" Soprano/First Maid Susan Mello Soprano/Pi late's Wife Danielle Martin Soprano/Second Maid Kirsten Blase Soprano Thea Tullman Soprano Arden Kaywin Soprano Mary Wilson Alto Robert Fertitta Alto/Witness Ralph Daniel Rawe Alto Mary Hughes Alto Vanessa Adler Alto Johnny Maldonado Alto Jessica Miller Tenor James Brown Tenor/Witness Shawn Bartels Tenor Geoffrey Parrish Tenor John Demler Tenor Ivan Rivera Tenor Justin Vickers Bass/Judas David Babinet Bass/Pontifex Paul Soper Bass/Pilate Steven Humes Bass/First High Priest Ted Huffman Bass/Peter Steven Stull Bass/Second High Priest Michael Lofton

Additional Credits Line Producer R. Michael Blanco Stage Manager Marjorie Horne "Evangelist" text adapted by Rufus Muller

26 nirpctor', I\lotp

In the interval of the first London performance of this production of the St. Matthew Passion, I met two German students choking with indig­ nation at what they described as a hideous misrepresentation of their beloved Bach . Bach, they said, is for the ear and not for the eye, and they told me that anything that distracted the audience from the music destroyec what the composer had laborec to achieve. Although I was maddened by their self-righteousness- how could anyone as young as that be so inflexibly censorious- I recognized that they had a point.

A reasonable argument can be made for the claim that staging a work such as the St. Matthew Pa ss ion is a generic error and that it is not in th e nature of the work to require, let alone survive, staging. And yet when Ron Gonsa lves, Paul Goodwin, and I met in 1991 to discuss this questionable project, we were surprised to discover how much impatience we shared about the type of performance which is Photo: Gemma Levine fondly supposed to be the one best designed to deliver the goods. None of us thought that the traditional form ever failed exactly-how could a masterpiece of this sort fair.- but we agreed that when singers and musicians are arranged in serried ranks with the soloists often distantly separated from their obbligato instruments, the disturbing urgency of the musical drama is mysteriously weakened. On the other hand we recog­ nized that there was no way in which the St. Matthew Passion could be treated as opera. The work is not scenic in any conventional sense and the alternation of brief dramatic episodes, narration, chorales, and extended meditations rules out anything like costumed staging.

In the end an informal workshop provided the answer. The circular format, which was to become such a distinctive feature of the production, developed almost by accident. The school room that we had hired for the experiment was too small to allow any other arrangement. The small space that was left in the middle invited action or at least some element of dramatized movement, and, as the rehearsal went on, I was increasingly struck by the permissive conviviality of the occasion. It was as if the performers were celebrating a musical sacrament in a small domestic church somewhere in Ephesus at the end of the second century A.D.

-Jonathan Miller

27 \A/ho'c \A/ho

Jonathan Miller (director) has a career spanning been wide-ranging and highly acclaimed, from many different fields-author, lecturer, his 1966 film of Alice in Wonderland , 11 plays television producer and presenter, theater, opera , for the BBC's Shakespeare series, The Beggar's and film director. As a theater director his pro­ Opera and Cos! fan tutte to The Body in ductions have included The Merchant of Venice Question, States of Mind, Born Talking , with Sir Laurence Olivier and Joan Plowright, Museums of Madness, and Anthropology. His The Taming of the Shrew (Royal Shakespeare semi-staged performance of Bach's St. Matthew Company), The Seagull (Chichester Festival Passion , which was performed in London, Theatre), A Long Day's Journey into Night Spain, and New York, was also filmed for BBC2. (Haymarket Theatre) , and The Emperor (Royal His most recent series, however, retumed to the Court). As artistic director of the Old Vic his work world of opera--Opera Works. includes Andromache with Janet Suzman , The Tempest with Max von Sydow, King Lear, and Paul Goodwin (conductor) , regarded as the Corneille's comedy The Uar. More recent pro­ foremost baroque oboist of his generation , is ductions in London include A Midsummer now firmly established as a conductor who Night's Dream (Almeida Theatre) and The brings all of his background expertise to a wide Beggar's Opera (Broomhill Opera). Jonathan range of repertoire . He has made more than 20 Miller's first opera production was the British solo and concerto records and was soloist with premiere in 1974 of Arden Must Die (Alexander many of Europe's finest early music groups. Goehr). He spent several seasons with Kent This experience as an oboist helps brings lyri­ Opera and subsequently with English National Cism, phrasing, and architecture to his con­ Opera , where he directed many famous ducting. Goodwin's principal conducting posts productions- The Mikado, Rigoletto, The are as associate conductor of the Academy of Marriage of Figaro, The Tum of the Screw, and Ancient Music (appointed by founder more recently Rosenkavalier and Carmen. He Christopher Hogwood , in 1996) and principal also has worked at many of the world's leading guest conductor of the English Chamber opera houses-the Maggio Musicale, Florence; Orchestra. Notable successes with the orches­ La Scala, Milan; the Metropolitan Opera, New tra have included performances of Mozart's York; Deutsche Staatsoper, Berlin; Bayerische much neglected singspiel Zaide at the Covent Staatsoper; and Vienna Staatsoper; as well as at Garden Festival and in France and Spain, tours the Salzburg Festival and the Royal Opera of Schutz and Monteverdi , the Mozart Requiem House, Covent Garden. His television work has in the Montreux and Zurich Festivals, and his

28 \A/ho'c \A/ho conducting debut at the BBC Proms in a pro­ Beamish's In Dreaming with Fretwork (Virgin gram of Handel, Haydn , and John Tavener. Classics). He also has released a series of Goodwin has a long-standing relationship with acclaimed recordings with Christopher Wilson Harmonia Mundi USA, to which he introduced on the metronome label. Recent engagements the AAM. Together they have recorded CDs, include Septimus (Theodora) with the Gabrieli including Christmas music by Schulz and his Consort (recorded for DGG), Bach 's St. Mark contemporaries and Mozart's Zaide, both criti­ Passion with the Amsterdam Baroque Orchestra cally acclaimed. The 2000-2001 season on tour to Vienna, Amsterdam , Rome , and New includes concerts with the Prague Chamber York, Bach 's Easter Oratorio with the Gabrieli Orchestra, Netherlands Youth Orchestra, Consort (also to be recorded for DGG), and Uppsala Chamber Orchestra, a U.S. tour with Monteverdi's L'Orfeo with Early Music the English Chamber Orchestra, Nuremburg Vancouver. Highlights this season include Les Opera Orchestra, and La finta giardiniera for Indes galantes for the Opera Bastille, Mannheim Opera. Monteverdi's Vespers with the Rundfunk­ Sinfonieorchester Berlin , Bach 's St. Matthew Pa ul Agnew (tenor; Evangelist) was born in Passion with the Amsterdam Baroque Orchestra Glasgow and studied music as a Choral Scholar on tour to Japan, /I combattimento di Trancredi at Magdalen College, Oxford. He has emerged with the English Consort, and Handel's as an outstanding interpreter of the baroque and Solomon with the Gabrieli Consort. Highlights classical repertoire. Notable appearances next season include Bach's Christmas Oratorio include King Arthur with the Monteverdi Choir, with the Academy of Ancient Music and Platee L'Enfance du Christ with La Chapelle Royale , in Rameau's Thespis and Mercure at the Joshua with the Academy of Ancient Music, Bayerische Staatsoper. Dioclesian with Tafelmusik, Bach 's Mass in B minor and Cantatas with the Amsterdam Andrew Schroeder (baritone; Jesus) was a Baroque Orchestra, Bach Cantatas with the winner of the 1991 Opera America William Orchestra of the Age of Enlightenment, and Matheus Sullivan Grant and the 1994 George Charpentier's Medee with Les Arts Florissants. London Foundation's Bruce Yarnell Award and With the English Concert he has sung Fairy was a finalist in the 1998 Placido Domingo Queen, Dioclesian , Timon of Athens , King Operalia. Schroeder's early operatic training Arthur, and Bach's Mass in B minor. In recital included apprenticeships with the Lyric Opera Agnew has appeared with the lutenist of Chicago and the Metropolitan Opera in New Christopher Wilson in Paris, London, Montreux, York. Operatic engagements for the current sea­ and Vienna. Operatic engagements to date son include Gluck's Iphigenie en Tauride with include acclaimed debuts at the Palais Garnier the Spoleto Festival in Charleston; Bizet's in the title role of Hippolyte et Aricie with Les Carmen in Hamburg; a co-production of Arts Florissants and at the Aix-en-Provence Berlioz' Beatrice et Benedict with the Grand Festival in /I combattimento di Tancredi et Theatre de Tours and the Theatre de Nancy et Clorinda. Agnew also has sung Male Chorus Lorraine; and Rossini 's /I barbiere di Siviglia (The Rape of Lucretia) for the Opera de Caen , with the Canturbury Opera in New Zealand . Arbace (ldomeneo) in Rennes and Nantes, Future projects include Shostakovich's Le Nez Orfeo in Toronto and Telemaco (II ritorno in Lausanne. During the 1998-99 season d'Ulisse in patria) in Luca Ronconi's production. Schroeder performed in Carmen with the Recordings include L'Enfance du Christ with La Berkshire Opera , Gounod's Faust with Madison Chapelle Royale (Harmonia Mundi), Timon of Opera , Kentucky Opera's production of Athens with The English Concert (DGG) , Gounod's Romeo et Juliette, Mozart's Le nozze Mozart's Coronation Mass and Bach Cantatas di Figaro with Utah Opera, and Carmen with with the Amsterdam Baroque Orchestra (Erato), the Nederlands Opera in Amsterdam. Monteverdi's Vespers, Charpentier's La Schroeder appeared in concert versions of Descente OrpMe aux Enfers and Rameau's Carmen with the Kansas City Symphony and Grands Motets with Les Arts Florissants (Erato), the Cleveland Symphony Orchestra . In previous Bach 's St. John Passion with the Brandenburg seasons he has su ng the title roles of Consort and King's College Choir, and Sally Tchaikovsky's Eugene Onegin with the English 29 \A/ho'c \A/ho

National Opera in London and at the Theatre Symphony No.4 (arr. Stein), to be recorded for du Capitole in Toulouse, as well as Henze's Der Arabesque Recordings ; a ten-city tour with The Prinz von Homburg at the Spoleto Festival. Chamber Music Society of Lincoln Center per­ Other appearances include Stravinsky's The forming works by Tavener and Villa-Lobos; and Rake's Progress at the Teatro Carlo Felice in recital engagements in Philadelphia and in Genoa, Faust with the Opera Festival of New Carnegie Hall's Weill Recital Hall. Murphy Jersey and the Vancouver Opera, Cosl fan tutte returns to the Salzburg Festival during the sum­ with Pacific Opera and the Washington Opera mer of 2001 for performances of Nanetta in at the Kennedy Center, and Iphigenie en Falstaff. Murphy's most recent recordings Tauride at New York City Opera. In Toulouse he include Dreamscape (Koch International), also has appeared in the title role of Britten's Twilight and Innocence (Arabesque Recordings) , Billy Budd and in Strauss' Capriccio and Mahler's Symphony No.2, Resurrection with Romeo et Juliette, which he also performed at the Dallas Symphony Orchestra (Delos, 1999), the Opera Comique in Paris. In concert followed by Mahler's Symphonies NO.4 and No. Schroeder has performed with the American 8, with additional recordings for Deutsche Symphony Orchestra, EOS Ensemble of New Grammophon and Telarc. Murphy resides in York, Indianapolis Symphony Orchestra, Pacific New York City with her husband and two chil­ Symphony, and Minneapolis Orchestra. dren. She last performed at BAM in the Brooklyn Schroeder performed in the 1997 BAM Philharmonic's 2000 performance of Messiaen's engagement of St. Matthew Passion directed by Three Tableaux from St. Francis of Assisi. Jonathan Miller. Phyllis Pancella (mezzo-soprano) has appeared Heidi Grant Murphy (soprano) has appeared on many of the finest international operatic, with many of the world's finest opera companies symphonic, and recital stages in repertoire rang­ and symphony orchestras, notably the ing from the Baroque era to that of the present Metropolitan Opera, Salzburg Festival, century. During the 2000-2001 season Netherlands Opera, and Opera National de Paris. Pancella portrayed Giovanna Seymour in She has been engaged as soloist with the Vienna Pittsburgh Opera's Anna Bolena and the title role Philharmonic, New York Philharmonic, Chicago of Carmen at the Teatro San Carlo in Naples, Symphony, Cleveland Orchestra, Boston Italy. In a return to the Opera Theatre of Saint Symphony, Philadelphia Orchestra, and Munich Lou is, Pancella performed the title role of, Philharmonic. Murphy's 2000-2001 season Offenbach's Grand Duchess of Gerolstein. includes summer engagements at the Performances on the concert stage include Tanglewood, Caramoor, and Minnesota Beethoven's Symphony NO.9 with the National Sommerfest music festivals. Subsequent roles Symphony Orchestra, the role of Donna Elvira in include Sophie in Der Rosenkavalier with the Don Giovanni with the Kansas City Symphony Metropolitan Opera in Tokyo and Pamina in Die Orchestra, and Berio Folk Songs with the New Zauberflote with the Bavarian State Opera in World Symphony Orchestra. In recent seasons Munich. Symphonic engagements include the Pancella has appeared in Florida Grand Opera's Brahms Requiem with the New York production of Giulio Cesare, Nabucco with the Philharmonic; Franz Schmid's Book of the Seven Houston Grand Opera , the title role of La Seals with the Cleveland Orchestra ; Mahler's Cenerentola for Cincinnati Opera, L'ltaliana in Symphony No. 2 with the Los Angeles Algeri with Glimmerglass Opera and New York Philharmonic and the Saint Louis Symphony; City Opera, Carmen at English National Opera , Barber's Knoxville: Summer of 1915 with the St. and in her triumphant portrayal of the title role of Paul Chamber Orchestra, Carmina Burana with Jack Beeson's Uzzie Borden in a new production the Detroit Symphony, Mozart's Mass in C minor at New York City Opera, also telecast live on the with Washington's Bach Consort, and Mozart's PBS Great Performances series. On the concert Coronation Mass with the Columbus Symphony. stage she has performed Brahms' Songs for Alto, This season performances include Carnegie Viola, and Piano joining The Chamber Music Hall 's Choral Workshop with Sir Neville Mariner Society of Lincoln Center for a North American in Vivaldi's Gloria ; tours with St. Luke's Charnber tour; Bach's Magnificat with the Cleveland Orchestra in performances of Mahler's Orchestra; Mozart's Requiem with the Cincinnati

30 \A/bo'c \A/bo

Symphony; Britten's Phaedra with the Orchestra Florissants under William Christie, the della Toscana; Berlioz' La Mort de Cieopatre Academy of Ancient Music, and Cecilia Bartoli , with the New World Symphony; and Bach 's as well as the Monteverdi Choir and Orchestra Mass in B minor with the Saint Louis under Sir John Eliot Gardiner. Taylor performed Symphony. As a highly regardec performer of in Jonathan Miller's 1997 production of St. chamber music she has appeared with the Matthew Passion at BAM. Vermeer and New World String Quartets and in solo recitals in Chicago, New York, SI. Louis, Richard Clement (tenor) is recognized as one Detroit, and Washington, D.C. of the world's leading young American lyric tenors in operatic, concert, and recital perform­ Daniel Taylor (countertenor) already estab­ ances. The 2000-2001 season follows a lished as one of the foremost countertenors of summer of festival engagements, including his generation in North America, received Tanglewood for a concert performance of Act III critical acclaim in his performance as Didymus of Verdi's Falstaff, Hollywood Bowl and Grant (Theodora) in his debut for the Glyndebourne Park Music Festival for Beethoven's Symphony Festival Opera. Taylor has recently appeared as No.9, and Japan's Saito Kinen Festival for Tolomeo (Giulio Cesare) for Rome Opera under Bach's Mass in B minor with Seiji Ozawa. The John Nelson, as the title role in Handel 's fall brings his return to National Symphony for Rinaldo with Cecilia Bartoli and the Academy Beethoven's Symphony NO.9 and to the of Ancient Music under Christopher Hogwood, Boston Symphony for the Symphony Hall and Bertarido (Rodelinda) with the Centennial Gala in a performance of the Kyrie Glyndebourne Festival Opera at the Montreux from Beethoven's Missa solemnis. Clement Festival under William Christie. He has joins the Czech Philharmonic for a performance appeared throughout Europe and North and recording of Toch's Cantata of the Bitter America with most respected collaborators, Herbs before going to Belgium for Tamino in including a debut last season with the the De Vlaamse Opera new production of Die Metropolitan Opera and appearance with the Zauberf/ote. He makes his debut with the Philadelphia Orchestra under Charles Dutoil. Detroit Symphony in Bach's Mass in B minor. He has released a number of recordings for Clement performed in the 1997 BAM engage­ Virgin, Sony, ATMA, and Orfeo. Highlights this ment of the Jonathan Miller production of season include engagements with Les Arts Bach's St. Matthew Passion .

31 \ALho'c \ALho

Stephen Varcoe (baritone) , from Britain , has MTV Video Music Awards' 9/9/99 to the Paris sung in opera, concerts , and recitals covering a Opera Ballet's production of Robert Wilson's wide range of repertoire in Europe, the United The Martyrdom of Saint Sebastian . Blanco's States, and Asia . He has made opera appear­ production stage-management credits include ances in Antwerp, Lisbon, Drottningholm, and Karole Armitage's Predator's Ball in Florence the Aldeburgh Festival, in such works as and at BAM, Laurie Anderson's Nerve Bible Haydn's L'infedelta delusa , Debussy's Fall of the Tour, the National Ballet of Cuba , the Stuttgart House of Usher, and John Tavemer's new Ballet, Jonathan Miller's St. Matthew Passion opera, Mary of Egypt. His opera repertoire also (1997), and the Philip Glass opera includes Plutone in Peri's Euridice , Death in Mattogrosso . Blanco's lighting credits include Holst's Savitr, Demetrius in Britten's A performances by the Venezuelan National Midsummer Night's Dream, and Salieri in Opera (Tosca, Lucia di'Lammermoor), Branford Rimsky-Korsakov's Mozart and Salieri. On the Marsalis, Molissa Fenley, Momix, and the concert platform Varcoe has appeared with the Juilliard Dance Ensemble. He is currently work­ BBC Scottish Symphony Orchestra, Northem ing with choreographer Carol Blanco on a new Sinfonia, City of London Sinfonia, Nash dance theater piece. Ensemble, and Orchestra of St. Luke's in New York , Brandenburg Consort, English Concert, The New York Collegium's performing artists are Monteverdi Choir and Orchestra, Scottish some of America's best-known Baroque instru­ Chamber Orchestra, RundfUnkchor, Berlin, mental and vocal specialists, many of whom Gulbenkian Orchestra, New Zealand Chamber have performed together for more than 20 years. Orchestra, Aarhus Symphony Orchestra , Vienna Through their collaborations a uniquely American Symphony Orchestra , BBC Symphony style of Baroque performance has evolved. Orchestra , St. Paul Chamber Orchestra , and Performing on period instruments, the Collegium Orchestra of the Age of Enlightenment. Varcoe seeks to combine fidelity to original sources with has made more than 125 recordings , including expression, wit, grace, rhythmic vitality, and a Purcell , Handel , and Bach with Pinnock, rich palette of tonal colors. In its third season the Gardiner, Hickox, and Kuijken; Mozart with Collegium continues to collaborate with a distin­ Marriner; Faure with Rutter; Holst with Hickox; guished roster of international guest directors and Richard Strauss with Norrington; recitals of Finzi soloists. Past guests have included Christophe and Parry with Clifford Benson; French songs Rousset, Fabio Biondi, Reinhard Goebel , Andrew with Graham Johnson; a recording of English Parrott, and James David Christie. The New York orchestral songs; If There Were Dreams To Sell Collegium takes its name from the 18th-century and Stanford's Stabat Mater both with Hickox Leipzig Collegium Musicum that was founded by for Chandos; Grainger's orchestral songs for Telemann and later directed by J.S. Bach . Under Chandos/City of London Sinfonia; Schoenberg's the tutelage of founding music director Gustav Serenade, Op. 24 with the 20th Century Leonhardt, the New York Collegium was estab­ Classics Ensemble; and Stravinsky's Abraham lished to provide American audiences with highly­ and Isaac with the Orchestra of St. Luke's. polished performances of lesser-known Baroque masterpieces, led by the most esteemed guest R. Michael Bla nco (l ighting designer) has directors. The Collegium has its own subscription worked in dance, theater, opera, film , music, series in New York City and Boston and has per­ television , and radio as director, line producer, formed at BAM and at Saint Thomas Church in production manager, lighting designer, actor, Manhattan. The Collegium was last heard at and dancer. He and Carol Blanco produce and BAM at the 1999 Harvey gala and will perform host the morning drive-time radio show Music again during BAM's 2001 spring season with the in the Morning with Blanco & Blanco on Opera Theatre Company of Ireland in Handel's WNYE. The Metropolitan Opera house has Rodelinda in May. employed him for projects ranging from the

32 St 1\/1 d tt h P\AL

Chorus and Chorale excerpts from The Passion According to SI. Matthew, BWV 244 English performing translation by Robert Shaw

Reprinted by arrangement with G. Schirmer, Inc., publisher and copyright owner.

Part I

1 Choruses I and II and Treble Chorus Come, ye daughters, come and mourn Hi m. See ye' (Whom?) The Bridegroom see! See Him' (How?) A lamb is He. o Lamb of God, most holy, The bitter cross You have taken. See it' (What?) His patience mi ld. At all times meek and lowly, Though by Your children forsaken. Look' (Ah, where?) Upon our guilt. The sins of man Thou'rt bearing, Else were we left despairing. Look on Him; for love untold He Himself the cross is bearing. Have mercy on us, 0 Jesus.

3 Chorale Ah, dearest Jesus, how have You offended, That such a bitter judgement has been rendered? Where is Your guilt, and whose the great transgression For Your confession?

5 Choruses I and II Not upon the feast, lest from it an uproar rises , a riot among the people.

7 Chorus I To what purpose is this wasted? It were better that this ointment had been sold, and the poor and the needy nourished.

32B Lihrptto

14 Chorus I Where wilt Thou , Master, that the feast of the Passover be prepared Thee?

16 Chorale 'Tis I, Lord , who shou ld suffer, My hands and feet shou ld offer To wear the bonds of Hell. Th e evi l crowds around You, Who jeer at You and wound You, Are merit of my sinful sou l.

21 Chorale Remember me, my Savior. My Shepherd, lead me home, o fount of every goodness, From which my good has come. A table You make ready With milk and honeyed food. I slu mber in Your spi rit And wake to Heaven's good .

23 Chorale I'll sta nd here close beside You­ Lord , ne'er from me depart. Nor will I ever leave You, Though grief sha ll break Your heart. And when life's lingering paleness By crown of thorns is pressed, Into my arms I'll ta ke You And hold You to my breast.

25 Recitative: Tenor and Chorus 1/ Ah, woe l what shuddering grief o'er floods His breast And as it wanes, how pale Hi s face is pressed I

Ah, Lord , How fa ll s on You this tribulation?

Before the judge He must appear; There is no he lp, no comfort near.

'Tis my own sinning, not of Your transgress ion l

Such agonies doth Hell awaken: That He for others' guilt is taken.

'Tis I, Lord Jesus, all the guilt must own here, Which You atone here. 32C St 1\/1 a tt h P\AL

Ah, if my love could comfort Thee, My Savior, could ease Your pain or share it, Could make it less or help to bear it, How gladly would I watch with Theel

26 Aria: Tenor and Chorus 1/ I would be with my Jesus watching, Even my death Ransom finds in His last breath; His sorrow maketh sure my gladness. The griefs that He for us endureth , How bitter, yet how sweet are they.

31 Chorale What God has willed will always be. His will is best, most surely. An ever-present help is He, If faith be fixed securely. Our help in need, all good, all wise, He rules with justice ever. Who trusts in God, on Him relies, Will be forsaken never.

33 Duet: Soprano and Alto with Choruses I and 1/ Alas, my Jesus now is taken. Free him! Halt ye! Bind Him not! Moon and stars have for grief the night foresaken, Since my Jesus has been taken . They pull at Him ; ah, they have bound Him. Have lightning and thunder from Heaven all vanished? Then open thy fiery abysses, 0 Hell! Defile them , devour them, destroy them, dispel them. Strike swiftly to brand The false-hearted traitor, the murderous band.

35 Choruses I and 1/ with Treble Chorus o man, bewail your grievous sin, • Wherefore the sole begotten Son Has left his Father's dwelling. Born of a virgin sweet and mild, To earth came down this holy Child, God's perfect love revealing.

32D Lihrptto

The dead He raised to life again , He healed the sick and eased our pain , Until His time drew near Him That He for us be sacrificed. Then were our sins put on by Christ, And on the cross forever.

Part II

36 Aria: Alto with Chorus 1/ Ah , now is my Jesus gone! Whither has thy friend from thee parted, o thou , fairest one among women? Must it be so? Can I bear it?

Wherefore hast thy friend turned away? Ah, my Lamb in tiger's ta lons! Ah, where is my Jesus gone?

For we would go with you to seek Him .

Ah , what shall I answer my spirit When it asks for strength to share it? Ah, where is my Jesus gone?

38 Chorale So does the world its treachery weave : Its web of fa lseness to deceive, To tangle and ensnare us. Be Thou our guard In danger, Lord! And from all tricks preserve us.

43 Choruses I and 1/ Thou prophet! Now prophesy! and tell us , thou Christ, by whom thou art struck!

44 Chorale o Lord , who dares to strike You? My savior, who would smite You So fierce and false a blow? For You have none offended , Nor yet to sin surrendered. No evil did You ever know.

32E St l\/ldtthp\AL

48 Chorale Have I also from You parted? Still I will return again. Life anew in me is started , By my Lord's despair and pain. I may not my guilt efface, But His mercy and His grace Are far greater than my failing, And the sin within me dwelling.

53 Chorale Entrust your ways unto Him, And all your heart's distress. His wisdom and His bidding Do highest Heaven confess. By Him the clouds are ordered , The winds arise and blow. He best can choose the pathway Whereon your feet should go.

55 Chorale What wonders rare this punishment doth offer! The Shepherd for H is sheep content to suffer, The Lord of Righteousness pays full deliverance For guilty servants .

63 Chorale o head , so bruised and wounded, Defi led a nd put to scorn, o sacred head , surrounded By mocking crown of thorn, o head, that once was honored, And lovely, fair to see , But now so lowly humbled, I greet and treasure Thee. o face of kingly grandeur, What fear will gird Your throne, When You shall judge in splendor, Though now so spat upon. o face, so pale and withered, Those eyes that once were bright, With glory of no other: Ah, who has dimmed their light?

32F Lihrptto

67 Choruses I and II Thou that destroyest the temple of God, And buildest it again in three days, Save thyselfl Be thou the Son of God , come down to us; Come down from off the cross I

Choruses I and II Savior was he of others, but for himself not a savior! If he be King of Israel, then let him now come from the cross, and we will then believe him. He in God has trusted: let his God then deliver him now, if He will, for he hath said: I am Son of God.

70 Aria: Alto with Chorus II See there! Jesus, waiting, stands. Open arms and outstretched hands. Come! (Ah, where?) His arms enfold you.

Seek salvation; find His mercy.

Live here, die here, softly rest. Your forsaken sweet ones here.

Come, then! (Where?) Let Jesus hold you.

72 Chorale When comes my hour of parting, Then part Thou not from me. When shades of death are darkening, Your love my light shall be. When anxious fears shall rend me, And break my heart in twain, o comfort and befriend me, Through Your own grief and pain.

73 Choruses I and II Truly, this was the Son of God who passed away.

76 Choruses I and II Sir, we bear it in mind that this base deceiver said, when he was yet alive: Upon the third day I will arise again in glory. Therefore, command the tomb be made secure, yea, until the third day, lest his disciples come by night and steal him hence, and say to all the people: From the grave He is this day arisen I Thus making the final deceit greater than the first one.

32G St 1\/1 a tt h P\I\/ Pa"ion

77 Recitative: Bass, Teno r, Alto and Soprano with Chorus II Now has the Lord been laid to rest. My Jesus, goodnight. The pain is o'er, Which all our sins on Him had pressed. My Jesus, goodnight. o holy, precious Body! See, how I come in penitence and weeping. For even my Fall your death has sanctified. My Jesus, goodnight. While life shall last, I will th is wonder ever thank: That thus my soul was worthy in His sight! My Jesus, goodnight.

78 Choruses I and II Here yet a while, with tears and weeping, Hearts call to Thee in earth's embrace, Rest Thou softly, softly rest. Rest, Thou weary body sleeping, Rest Thou softly, softly rest. See in grave and stone a grace For the anxious, the despairing: Heaven's promise, comfort bearing, And the soul's sure resting place. Come, my Soul! Slumber doth my heart embrace. We stand here now, with tears and weeping, And call to Thee in grave so still. Rest softly, softly rest. •

32H Uprom i ng RA 1\/1

2001 Dance/Opera/Theater Events May-Jun Call 718.636.4100 or visit Compagnie Montalvo-Hervieu, Le Jardin io io ito ito, May 2, 4, & 5 www.bam.orgfor details Opera Theatre Company of Ireland, Rodelinda by Handel, May 16, 17, 19, & 20 DanceAfrica 2001, May 25-27 DanceAfrica Bazaar, May 26-28 BAMfamily Tomas Kubfnek: Certified Lunatic and Master of the Impossible , May 26 Just announced! Shakespeare's Hamlet, Royal National Theatre, May 30-Jun 2 White Oak Dance Project, PASTForward, Jun 5-9 Ingmar Bergman/Royal Dramatic Theater of Sweden, The Ghost Sonata by Strindberg, Jun 20-24 BAMdia/ogues Le Jardin io io ito ito: Jose Montalvo, May 2 BAMcafe Uve May highlights Francophonic, a French music festival: Bebe Eiffel, May 3 • Deep Blue Sea, May 4 African Dance Party with Francis M'bappe's FM Tribe, May 5 Dana Hanchard, May 10 • Harriet Tubman , May 11 • Matthew Shipp, May 17 Ziatne Uste , May 19 • Jerome Kitske, May 31 (3A I\/lri n6m~tpk

BAMcinematek at BAM Rose Cinemas Eric Rohmer On Stage/On Film features daily screenings of classic 5/4 A Summer's Tale DANCE AFRICA 2001 American and foreign films, documen­ 5/5 My Night at Maud's 5/23- 27 taries, retrospectives, and festivals. 5/6 La Collectionneuse Frances Reid & Deborah Hoffmann 5/10 La Boulangere de Monceau Long Night's Joumey Into Day On Stage/On Film and La Carriere de Suzanne (USNSouth Africa) FRANCE MOVES 5/11 The Aviator's Wife Ousmane Sernbene 5/2 Program One: 5/12 Claire's Knee Faat-Kine (Senegal) Trait d'union (Hyphen) 5/13 Chloe in the Aftemoon Mahamat-Saleh Haroun Short films by Angelin Preljocaj and 5/17 A Good Marriage Bye Bye Africa (Chad/France) Cyril Collard, with choreography by 5/18 Boyfriends and Girlfriends preceded by Angelin Preljocaj. 5/20 Summer Fred Price 5/3 Program Two: 5/31 Full Moon in Paris Home (20 min video short) Insolites (Odd) Short films by Pascal Baes, Jerome Valerio Zudjnj The Sound of Sjlents Cassou, Nicole & Norbert Corsi no, 5/1 The Girls of San Frediano From the Library of Congress Philippe Decoufh§, Olivier Megaton, 5/7 Violent Summer collection to live piano by Luc Riolon & Luc Ie Tacon, and 5/8 Family Diary Donald Sosin Daniel Wiroth. Choreography by 5/14 La soldatesse 5/30 Henry King & Sam Taylor Sara Denizot & Laurence Rondini , 5/15 The Girl with the Suitcase The Woman Disputed Catherine Diverres, Lionel Hoche 5/21 The Professor BAMcafe Dinner & Movie $30 w/Compagnie Meme Banjoy, and 5/28 Black Jesus Tickets available one week prior to Daniel Larrieu w/Astrakan Co. 5/29 The Desert of the Tartars screening. Call 777-FILM (#545) Direction and choreography by or visit moviefone. com or Joelle Bouvier & Regis Obadia, Cjnemachat with Elliott Stein www.bam.org for showtimes. Nicole & Norbert Corsi no, and 5/9 George Romero Monkey Shines Philippe Decoufh§. Cinemachat post-6:50pm show BAMcinematek infoline: On both France Moves programs, Brooklvn Independents 718.636.4157 Programs and 5/2 & 5/3: 5/16 TBC showtimes subject to change. Olivier Ducastel & Check within three days of Jaques Martineau Sneak Preview screenings to confirm. Jeanne and the Perfect Guy 5/22 Jim McKay 50 ' OufSong