umass fine arts center CENTER umassSERIES fine 2008–2009 arts center CENTER SERIES 2008–2009
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1 I Musici de Montreal 04/05/09 2 National Philharmonic of Russia 04/19/09 1 3I Musici Toumani de Montreal Diabaté Symmetric 04/05/09 Orchestra 04/23/09 2 4National Alvin Ailey Philharmonic American of Dance Russia Theater 04/19/09 05/13/09 3 Toumani Diabaté Symmetric Orchestra 04/23/09 4 Alvin Ailey American Dance Theater 05/13/09
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4.875" x 3.75" UMASS FAC Playbill In this Issue . . .
11 I Musici de Montréal
15 National Philharmonic of Russia
21 Toumani Diabaté
29 Alvin Ailey American Dance Theater
42 Fine Arts Center Board and Staff
43 Friends of the Fine Arts Center
45 Business, Friends, Foundations & Organizations
46 Patron Services Information
47 Evacuation Diagram
49 Symbols of Support
9 cooLeY ✚ makiNg a great commuNitY Better
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10 Sunday, April 5, 3PM, 2009 UMass Fine Arts Center Concert Hall
I Musici de Montréal Yuli Turovsky, Conductor
Notturno Alexander Borodin Andante
Sextet in D minor, op. 70 P. I. Tchaikovsky “Souvenirs de Florence” I Allegro con spirito II Adagio cantabile e con moto III Allegretto moderato IV Allegro vivace
Intermission
Pictures at an Exhibition M. Mussorgsky Promenade - Gnomus - Promenade - The Old Castle - Promenade - Tuileries - Bydlo - Promenade – Ballet of the Unhatched Chicks - Samuel Goldenberg and Schmuyle – Promenade - The Marketplace at Limoges - Catacombs/Cum mortuis in lingua mortua – Baba Yaga’s Hut on Chicken Legs - The Great Gate at Kiev
I Musici de Montréal appears by arrangement with Jonathan Wentworth Assoc. Ltd. [email protected] ph: 914-667-0707
11 ROSTER Natasha Turovsky
Artistic Director and Conductor Violas Yuli Turovsky Anne Beaudry Suzanne Careau Concertmaster Jacques Proulx Eleonora Turovsky Cellos Violins Alain Aubut Denis Béliveau Timothy Halliday Zhe Li Madeleine Messier Doublebass Françoise Morin-Lyons Jeffrey Buchner Christian Prévost Catherine Sansfaçon Bolduc Julie Triquet
BIOS in and around Montreal. In 2004, the Orchestra I Musici de Montréal Chamber Orchestra and Maestro Turovsky received a uniquely special award for International performances presented by Founded by cellist and conductor Yuli Turovsky, I the Conseil québécois de la musique. This award Musici de Montréal is a chamber orchestra of 15 saluted the 20th anniversary of the orchestra and musicians that performs a vast repertoire extending the whole work that made the reputation of the from the Baroque to the Contemporary. The orches- orchestra throughout the years. tra presents a busy schedule of over 100 concerts per season throughout the world, including three Under the dynamic and visionary direction of series in Montreal. This extraordinary amount of Maestro Yuli Turovsky who also performs as cello activity places I Musici de Montréal among the most soloist with the orchestra, I Musici de Montréal important touring orchestras in Canada. Since its has performed in some of the greatest halls in the beginnings, I Musici de Montréal has released more world: New York’s Lincoln Center, the Gewand- than 40 CDs for the Chandos and Analekta Record haus in Leipzig, Germany, the Seiji Ozawa Hall in Labels that are distributed in more than 50 countries Tanglewood, the Tonhalle in Zürich, the Palais des around the world. Beaux-Arts in Brussels, the Kioi Hall in Tokyo and Philharmonie in Luxemburg, among others. Public These recordings have won the orchestra and Mae- enthusiasm and critical acclaim underlining the pre- stro Turovsky many awards, including a Diapason cision, cohesion and virtuosity of their performance d’Or for their 1988 recording of Shostakovitch’s 14th as well as the brilliant and distinctive sound of the Symphony and a 1992 Penguin Guide Rosette for orchestra confirm I Musici de Montréal’s importance their Concerti grossi, opus 6 by Handel. I Musici de on the world’s musical stage. Montréal’s recording of Handel has since become a reference recording of the highest standard. In “The Incredible String Band”, The Independent, London December of 1998, the Conseil québecois de la “I Musici de Montréal is a decidedly virtuoso group”, South China Morning Post, Hong-Kong musique gave two Opus Awards to the orchestra for “Whiplash precision and tension”, Stereo Review, New York Recording Event of the Year and Best Recording — contemporary music for a CD — grouping works by Yuli Turovsky, Conductor Gorecki, Pärt and Schnittke. In August 2001, BBC ©OSA Music Magazine named as their CD of the Month An unusual destiny, a story to be told. The life I Musici de Montréal’s 40th CD, a recording of and work of Yuli Turovsky are interconnected by Miaskovsky, Schnittke and Denisov, naming it “Pick exceptional events. Born in Moscow, Yuli Turovsky’s of the month.” In 2007, the orchestra won the Opus musical awakening began early on. By the age of 7, Award for their latest record Shostakovich’s Circle he was seriously invested in the study of the cello. and was nominated for a Juno Award. He enters the celebrated Tchaikovsky Conserva- In 1999, I Musici de Montréal was awarded the tory where he has the honour of studying with the Grand Prix by the Montreal Urban Community for celebrated Galina Kozulupova and in 1969 receives their exceptional contribution to music presentation First Prize in the USSR Cello Competition. The
12 following year he is among the laureates of the last April. In November 2007 Natasha received an 22nd Prague Spring International Competition. His ‘excellence Pictures at an exhibition from the presti- studies completed, he begins the first of many tours gious New York Independent film and video festival. around the world as a member of the celebrated award’ for Choreographed Pictures at an Exhibition Moscow Chamber Orchestra, under the direction of from the prestigious New York Independent film and Rudolph Barschai. After immigrating to Canada and video festival. establishing himself in Montreal, Yuli Turovsky car- ries on his brilliant musical career as a soloist, as a PROGRAM NOTES member of the Turovsky Duo with his wife Eleonora ALEXANDER BORODIN (1833-1887) and as a founding member of the Borodine Trio. Notturno (Andante) Created in 1977, he remains with his trio until 1993. The symphony orchestras of Detroit, Montreal, Chi- Like the Andante cantabile from Tchaikovsky’s cago, Athens, Jerusalem and Stockholm welcome String Quartet No. 1, Op. 11 and Samuel Barber’s him as a soloist and he continues to be a recording Adagio from his string quartet, by coincidence also artist with companies such as Melodya, CBS, SRC, Op.11, Borodin’s Notturno is a single movement Chandos and Analekta counting 82 CDs and phono- that has detached itself from a string quartet graphs to date. In spite of his formidable schedule, and has taken on an independent life of its own. Yuli Turovsky continues to teach at the Faculté de The Notturno has been transcribed for just about musique of the Université de Montréal where he everything from solo violin with piano accompani- has formed a generation of cellists. ment to full symphony orchestra. Borodin was one of the “Mighty Five” of late-nineteenth-century Natasha Turovsky, painter Russian music, the group whose avowed intent was A professional violinist, Natasha Turovsky discov- to stamp their music with a distinctly Russian flavor ered visual arts not more than fifteen years ago. in place of the European style that prevailed. This Shortly after starting her first drawing lessons, she quality is less obvious in Borodin’s chamber music realized that art would become much more for her than in the orchestral works (In the Steppes of Cen- than a mere hobby. She decided to pursue profes- tral Asia, Polovtsian Dances, three symphonies) and sionally her passion for visual arts by enrolling in the opera Prince Igor. The movement’s main theme the Fine Arts program at Concordia University in is unfailingly romantic, ingratiating and memorable. Montreal in 1992, where she specialized in painting It wanders through various ranges and colors of and printmaking. the orchestra, interrupted only briefly by a gently fluttering idea with a dancelike lilt to it. Perhaps the Even with her busy schedule as a musician, she is fact that the theme is first stated by the cello(s) is an extremely prolific artist. Although she finds both a reflection of the fact that Borodin himself was an professions equally demanding and important, Na- accomplished cellist. tasha is discovering that each discipline nourishes the other. She has produced hundreds of paintings Piotr Ilyitch Tchaikovsky (Kamsko-Votkinsk 1840 and monotypes, along with several opera sets and - St. Petersburg 1893) Sextet in D minor, op. 70 series of paintings made after such musical cycles “Souvenirs de Florence” as Song of the Earth by Mahler and Pictures at an In the winter of 1890, shortly after the premiere of Exhibition by Mussorgsky. his ballet The Sleeping Beauty, Tchaikovsky left Natasha’s first solo exhibition was in Montreal in Russia for a tour of Italy. There he spent nine weeks 1995. To date, she has had more than thirty solo in Florence engrossed in a new project -- his opera, and group exhibitions in Barcelona, Cleveland, The Queen of Spades, which was completed, soon Boston, New York, Hong-Kong, etc. Her works are after his return in Russia in the spring. With the in many private and corporate collections in the opera finished, Tchaikovsky immediately turned to a United States, Canada, England, Spain, France, more intimate form of music -- a string sextet he had Russia, China and Iran. planned on his tour. At first he experienced some difficulties. As he wrote to his brother Modest, he The Choreographed Pictures at an Exhibition has found it hard to compose for six independent parts already been performed with I Musici de Montréal and felt his inspiration had dried up. Within a few on tour in the United States, Spain, Brazil, Canada days, though, the situation had reversed itself. “Ah and Colombia. This short animated movie has been Modie, my sextet is wonderful and the fugue at the selected for the 2007 Syracuse International Film end is charming... how pleased I am with myself!”
13 This sextet, titled “Souvenirs de Florence”, proved A “PROMENADE” theme begins an imaginary stroll to be the composer’s last piece of chamber through the picture gallery, a theme that returns sev- music. As such, it represents the culmination of eral times throughout the work as the viewer moves Tchaikovsky’s neo-Classical tendencies found in on to another painting or group of paintings. such works as the Serenade for Strings and the GNOMUS - A child’s toy made of wood, styled after a Variations on a Rococo theme. Although admittedly small, grotesque gnome with gnarled legs and erratic an uneven work, its best movements contain some hopping movements. of Tchaikovsky’s finest music, particularly the THE OLD CASTLE - A watercolour of a troubadour opening Allegro con spirito, with his nervous energy singing in front of a medieval castle. contained within a clear form and the highly original TUILERIES - A lively picture of children scampering second movement, a nocturne featuring an almost about, engaged in horseplay while their nannies programmatic blend of musical types -- an opening chatter. chorale, a serenade complete with a guitar-like piz- BYDLO - On giant, lumbering wheels, an oxcart zicato accompaniment, and, for its brief middle sec- comes into view, its driver singing a folk song in the tion, a scherzo suggestive of am eerie night wind. Aeolian mode. MODEST MUSSORGSKY (1839-1881) BALLET OF THE UNHATCHED CHICKS - Cheeping Pictures at an Exhibition baby canaries dance about, wings and legs protruding When Victor Hartmann, an artist, designer and from their shells. sculptor, died of a heart attack in 1873, his close SAMUEL GOLDENBERG AND SCHMUYLE - Mus- friend Modest Mussorgsky was devastated and sorgsky called this piece “Two Polish Jews, Rich and slipped into a depression aggravated by an alcohol Poor.” Their personalities are vividly drawn. problem. Vladimir Stassov, a music critic and friend THE MARKETPLACE AT LIMOGES - Another lively, of both Mussorgsky and Hartmann, arranged an bustling, French scene. Here, rather than children, exhibit of about four hundred works of the deceased we find the rapid chatter, babble and arguments of artist, hoping that this tribute might relieve Musso- housewives. rgsky’s depression. Thanks to Stassov, Mussorg- CATACOMBS - Hartmann himself, lantern in hand, sky was inspired to create a suite of ten musical explores the subterranean passages of Paris. Eerie, portraits for piano, but it did not achieve popularity ominous sounds are heard in the ensuing CUM MOR- in any form until Maurice Ravel orchestrated it in TUIS IN LINGUA MORTUA (With the dead in a dead 1923. The first orchestral performance was given language). To a distorted version of the Promenade later the same year, conducted by Serge Kousse- theme, the music depicts a grisly sight. vitzky at the Paris Opéra. Since then, there have BABA YAGA’S HUT ON CHICKEN LEGS - Mus- been at least two dozen other versions of Pictures sorgsky portrays the fabled witch’s ride through the for full orchestra or smaller forces. Two years ago, air in her mortar, steering with a pestle. At the height Yuli Turovsky made his own arrangement for string of the dizzying ride, she seems to sail right out of this orchestra. Each musical portrait of the original work picture into the next: is based on one of Hartmann’s paintings, though in THE GREAT GATE AT KIEV - This depicts Hart- tonight’s performance the visual element has been mann’s architectural design for a gate (never built) to reinterpreted in surrealistic terms by Turovsky’s commemorate Alexander II’s narrow escape from an daughter Natasha. assassination attempt in Kiev. Robert Markow
14 Sunday, April 19, 7PM, 2009 Fine Arts Center Concert Hall
NATIONAL PHILHARMONIC OF RUSSIA Vladimir Spivakov, Artistic Director and Principal Conductor Valentina Lisitsa, piano
The Enchanted Lake, Op. 62 Anatol Liadov
Piano Concerto No. 1 in F-sharp Minor, Op. 1 Sergei Rachmaninoff Vivace Andante Allegro vivace Valentina Lisitsa, Piano
Intermission
Romeo and Juliet Fantasy-Overture Pyotr Il’yich Tchaikovsky
Four Pieces from the Romeo and Juliet Suites, Opp. 64bis and 64ter Sergei Prokofiev Montagues and Capulets Masks Romeo and Juliet Before Parting Death of Tybalt
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15 FIRST VIOLIN Vladimir Lundin Siarhei Karachun Alexander Andrusik Anna Beschastnova Alexey Shanin Eremey Tsukerman VIOLA Alexey Sinev Damir Yapaev Vladimir Lukiyanov Elena Adzhemova Svetlana Toporova FLUTE/PICCOLO TRUMPET Pavel Bereslavtsev Nikolay Kondrashin Tatiana Shanina Kirill Belotsvetov Sergey Bubnov Kirill Soldatov Tatiana Yurieva Emil Salaridze Svetlana Mitryaykina Ivan Maloshtanov Alexander Polyakov Alexander Medvedev Alexander Ozeritskiy Alexey Parshenkov Irina Pavlikhina Lev Leushin Vladimir Shamidanov Saniya Kashkarova Natalia Boldova TROMBONE / BASS Marianna Orloff Dmitry Potemkin OBOE/ENGLISH HORN TROMBONE Timur Pirverdiev Maria Gorodetskaya Alexander Arkhangelskiy Valery Golikov Viktoria Blazhina Shamil Saidov Alexander Mozdykov Alexander Gorbunov Tatiana Kuznetsova Radik Khanafin Vladimir Shchetinin Igor Bakanov Yulia Kalinkina Alexandra Khanafina Vladimir Gavrilov Sergey Klimenko Natalia Geyzler Nadezda Kurdyumova CELLO CLARINET /BASS TUBA Yuri Loevskiy CLARINET Alexander Kazachenkov SECOND VIOLIN Evgeny Ivanov Mikhail Beznosov Liudmila Murina Ernst Pozdeev Vitaly Feoktistov TIMPANI / Evgeny Subbotin Nikolay Silvestrov Boris Puryzhinskiy PERCUSSION Alexey Morilov Mikhail Mostakov Igor Eremin Valery Polivanov Yulia Solodakhina Alexander Ostroukhov Sergey Vasiliev Marina Slutskaya Oleg Smirenkov BASSOON Yury Gridasov Iakov Kashin Olga Kiseleva Alexander Petrov Dmitry Barkov Maria Smirnova Alexander Musaelyan Stanislav Katenin Andrey Lysenko Ilya Rubinshteyn Irina Tsirulnikova Gennady Shamin Anna Gurevich Nikita Kim HARP Dmitry Akinfin DOUBLE BASS HORN Ilona Nokelaynen Elena Zlobina Nikolay Gorbunov Stanislav Davydov Svetlana Yazlovetskaya Vasily Zatsepin CELESTE / PIANO Svetlana Ovsyannikova Andrey Yatsynych Andrey Romanov Zoya Abolits Galima Barsova Viacheslav Mikhaylov Mikhail Iosilevich
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16 NOTES ON THE PROGRAM Piano Concerto No. 1 in F-sharp Minor, Op. 1 By Aaron Grad [1891, revised 1917] SERGEI RACHMANINOFF The Enchanted Lake [1909] Born April 1, 1873 in Oneg, Russia ANATOL LIADOV Died March 28, 1943 in Beverly Hills Born May 11, 1855 in St. Petersburg Died August 28, 1914 in Polinovka (Novgorod By the time Sergei Rachmaninoff entered ado- District, Russia) lescence, his father had squandered the family fortune, his sister had died of diphtheria, his parents Anatol Liadov was one of the finest acolytes to were separating, and he was failing his classes in emerge from the sphere of “The Five,” a group of St. Petersburg. On the advice of Rachmaninoff’s leading composers whose hearty nationalism de- cousin, pianist Aleksandr Ziloti, the 12-year-old fined Russian late Romantic music. Working in the transferred to the Moscow Conservatory to study shadow of Rimsky-Korsakov and his colleagues, piano with Nikolay Zverev. He lived, along with Liadov created a small but memorable body of two other young students, at his teacher’s apart- works. He is best remembered now for his solo ment, where rigorous practice sessions began at piano repertoire, and especially for his orchestral six each morning. The strict environment aided tone poems, including The Enchanted Lake. Rachmaninoff’s development as a pianist, but the Liadov came from a musical family. His first cacophony of a shared practice room proved less teacher was his father, the conductor at the Impe- nurturing for his burgeoning interest in composing. rial Mariinsky Theatre. At 15, he enrolled in junior When Rachmaninoff asked for more privacy to classes in piano and violin at the St. Petersburg compose, Zverev kicked him out and shunned him Conservatory, but he soon traded his instrumental for years. Rachmaninoff moved in with relatives in studies for theory and counterpoint. He enrolled Moscow, the Satins, and accompanied them to their in the composition classes taught by Rimsky- summer estate at Ivanovka starting in 1889. This Korsakov, only to be expelled for poor attendance. idyllic environment became his composing haven, (Liadov had a lifelong reputation for indolence; and over the next decades almost all of his music later, he declined a commission from Diaghilev for originated from this country home. a ballet based on The Firebird, clearing the way for Rachmaninoff had written various imitative pieces young Stravinsky’s breakthrough work.) Eventually as a teenager, but his first significant work (and first Rimsky-Korsakov let Liadov resume studies and opus number) was the piano concerto completed in graduate, after which the younger composer joined the summer of 1891 at Ivanovka. The most direct his hero on the conservatory faculty. Liadov’s most influence on the work was Grieg’s Piano Concerto famous pupil was Serge Prokofiev, who later offered in A minor; it provided the structural framework upon this picture of his professor: “Shoving his hands in which Rachmaninoff draped his own original piano his pockets and rocking in his soft woolen shoes figurations. He dedicated the piece to Ziloti, who without heels, he would say, ‘I don’t understand why was then his piano teacher. you are studying with me. Go to Richard Strauss. Go to Debussy.’ This was said in a tone that meant Rachmaninoff appeared as the soloist for the ‘Go to the devil!’” work’s debut the following spring at the Moscow Conservatory. Then, as his piano and composing Liadov’s unfinished opera based on Russian folklore careers developed over the next years, he came to provided the basis for his most famous composi- dismiss the early concerto as a student work. He tion, The Enchanted Lake. This brief musical had completed two more concertos by the time he landscape from 1909 showcases his impeccable decided to revise the first in 1917, holing up in his sense of orchestral color, a quality he shared with Moscow apartment to complete the task while the Rimsky-Korsakov. Slow harmonic movement and country devolved into chaos around him. Except for minimal melodies convey an otherworldly stillness, a few piano sketches, the new version of the con- accentuated by hovering strings and angelic flecks certo was the last music Rachmaninoff wrote before of harp, celesta and flutes. Liadov’s relaxed ethos, leaving Russia. The revision left the original form at times a liability, proves to be at the heart of his and spirit essentially intact, but a keener sense of most enduring masterpiece. orchestration and harmony brought a greater level of polish to the work. He wrote to a friend, “I have rewritten my First Concerto; it is really good now. All
17 the youthful freshness is there, and yet it plays itself quite at home with him [Balakirev]. I particularly so much more easily.” don’t like the narrowness of his musical views and the sharpness of his tone.” But without the pushy The first movement, marked with a brisk Vivace master’s guidance, Tchaikovsky never would have tempo, begins with heralding brass and virtuosic written the work that turned out to be his first truly piano flourishes. The music goes on to reveal mature and independent masterpiece. a lyrical side, with lush melodies characteristic of Rachmaninoff’s mature style. The substantial The piece features three main themes, represent- cadenza, worked out for the 1917 version, creates ing Friar Laurence, the struggle between the symmetry by folding the opening brass motive Montagues and Capulets, and Romeo and Juliet’s into the primary material. The Andante movement love. “Friar Laurence” occupies the slow introduc- features the piano in an extended solo statement tion with a hymn-like setting. The faster “struggle” of the song-like melody. This movement required material serves as the primary theme for the ensu- little retouching, and stands out as an exceptionally ing sonata-allegro form, with the emphasis made beautiful conception from an 18-year-old composer. clear by crashing cymbals and orchestral sections The Allegro vivace finale provides a capricious placed in opposition. The contrasting theme of the romp, moving through a tender middle section and sonata form is the “love” melody, one of Tchai- ultimately settling into a major-key resolution. kovsky’s most famous passages. After this delicious morsel, the “struggle” theme returns to dominate Romeo and Juliet Fantasy-Overture the development, eventually paired with elements [1869, revised 1880] of the “Friar Laurence” theme. The recapitulation PYOTR IL’YICH TCHAIKOVSKY features brilliant juxtaposition and elaboration of the Born May 7, 1840 in Kamsko-Votkinsk competing themes, including a nostalgic final take (Vyatka province, Russia) on the “love” melody. Died November 6, 1893 in St. Petersburg Four Pieces from the Romeo and Juliet Suites, Russian composer and conductor Mily Balakirev Opp. 64bis and 64ter [1938] may not be well remembered for his own works, but SERGEI PROKOFIEV he had a profound influence on the development of Born April 15,1891 in Sontsovka, Ukraine. Russian music. He is most closely associated with Died March 5, 1953 in Moscow. the nationalistic Russian composers known as “The Five” – himself plus Mussorgsky, Rimsky-Korsakov, For those who view the Cold War with a Western Borodin and Cui – but he also helped steer the perspective, the career path of Sergei Prokofiev can young Tchaikovsky. In 1869 Balakirev conducted be confounding. This composer found success in Tchaikovsky’s tone poem Fate (an early work that the United States, was the darling of Paris for some would later be discarded), and the older com- time, and then re-settled in the Soviet Union just as poser was impressed enough to take an interest Stalin launched a brutal crackdown on the artistic in Tchaikovsky’s burgeoning career. He suggested freedom of the nation’s creative elite. Prokofiev a new orchestral project – a tone poem based on suffered great personal woes at the hands of Stalin Romeo and Juliet – and even outlined a particular and his henchman, yet he found in Soviet Russia organization of the themes. Tchaikovsky began the the audience most receptive to his music. The work in 1869, and continued to seek feedback from ballet Romeo and Juliet, one of the most successful Balakirev, to whom he would dedicate the work. compositions of the 20th century, emerged from After the premiere in March of 1870, Tchaikovsky these tangled currents of art and politics. made a few more revisions before publication. He touched up the score once more in 1880, creating By the early 1930’s, the former enfant terrible ad- the final version performed most often today. opted a new simplicity in his musical language, an aesthetic that proved to be at odds with the strident Some scholars say the brooding romanticism of modernism favored in Paris. At the same time, new the Romeo and Juliet Fantasy-Overture stems from opportunities emerged from the U.S.S.R, especially Tchaikovsky’s heartbreak in 1869 by the Belgian film collaborations well suited to Prokofiev’s boldly soprano Désirée Artôt, arguably the only woman the direct and concise style. The composer spent more composer ever desired. More prosaically, it could and more time in the Soviet Union, eventually be seen as an exercise in following Balakirev’s settling permanently in Moscow by the end of 1935. meticulous directions. Tchaikovsky was a reluctant In 1934, the man who had earned his fame through follower, once writing to his brother, “I never feel wild and punchy scores for Serge Diaghilev’s
18 Ballets Russes received an invitation from the lofty in January 1940 contained music Prokofiev had State Academic Theater (formerly the Imperial Mari- not written for the ballet (for example, Lavrovsky insky Theater, soon thereafter renamed the Kirov inserted Morning Dance, which was an orchestra- Theater) to compose his first full-length ballet. The tion of music from the Second Piano Sonata), used theater director Sergei Radlov suggested working a new tragic ending Prokofiev substituted in 1938, from Shakespeare’s Romeo and Juliet, and soon and featured thickened orchestrations for the ben- he and Prokofiev had shaped a libretto. Unexpect- efit of the dancers, who complained that they could edly, the Kirov Theater canceled the commission, not hear their cues, and who had threatened to an early sign of the sinister machinations that would boycott the production out of fears that they would accompany Andrei Zhdanov’s ascendancy to the appear foolish. Despite Prokofiev’s clear frustra- role of Stalin’s chief cultural advisor. The Bolshoi tions, the ballet won overwhelming approval from Theater then signed a contract to present Romeo the public, received praise from the Communist and Juliet, which Prokofiev had nearly completed party standard-bearers, and became a staple of the by mid-1935 in piano score. That arrangement modern repertoire. collapsed as well, perhaps partly due to controversy This program’s assemblage of four movements surrounding Prokofiev’s original scenario, which draws from Prokofiev’s first two Romeo and Juliet had Romeo arrive about a minute earlier than in the suites. Montagues and Capulets, the opening selec- Shakespeare version, thus allowing the lovers to tion of the second suite, introduces the embattled live and dance a joyous finale. clans with an impressive bloom of brass and While the ballet faced an uncertain future in Russia, percussion, followed by a hushed string chorale. Prokofiev extracted orchestral suites for concert The competing sonorities join for a bellicose march, performance, and eventually secured an inauspi- interrupted briefly by a mysterious interlude. Masks, cious premiere in Brno, Czechoslovakia in 1938. from the first suite, encompasses playful music Finally, the Kirov Theater decided to produce the from the Capulet’s costume ball in the ballet’s first ballet, but the Leningrad premiere was not a happy act. Romeo and Juliet before Parting comes from occasion for the composer. The choreographer the second suite, and it conveys all the pathos and Leonid Lavrovsky bullied Prokofiev into making heartache one would expect for the star-crossed substantial changes to the score, and arranged lovers’ final moments together. Death of Tybalt for other adjustments without the composer’s concludes the first suite with some of the ballet’s knowledge. The version of Romeo and Juliet heard most spry and exciting music. © 2009 Aaron Grad.
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20 Thursday, April 23, 2009, 7:30P.M. UMass Fine Arts Center Concert Hall
Direct from Mali TOUMANI DIABATÉ and the Symmetric Orchestra
Program will be announced from the stage
The Arts Give Back: Please bring your old cell phones to help women in need through the New England Learning Center for Women in Transition. To find out more, visitwww.nelcwit.org.
Tonight’s appearance of Toumani Diabaté and the Symmetric Orchestra is sponsored by Coca-Cola, The River 93.9 FM, The Green Living Journal and Dean’s Beans
The appearance of Toumani Diabaté Symmetric Orchestra is funded in part by the Expeditions program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts Regional Touring Program and the American Masterpieces initiative, with additional support from the six New England state arts agencies.
21 ABOUT TOUMANI DIABATÉ Diabaté began playing kora at the age More than any other artist, Toumani of five and was quickly recognized as a Diabaté is responsible for introducing the prodigy. At that time, the Malian govern- kora—a 21-string harp unique to West Af- ment actively supported regional en- rica—to audiences around the world. But sembles to represent local folklore, and aside from being a player of exceptional Diabaté was recruited to the ensemble virtuosity and creativity, Diabaté plays a from Koulikoro (approximately 60 kilome- vital role as bandleader, teacher, musi- ters east of Bamako), with whom he made cal conservationist and composer in the his public debut at the age of 13 to great capital city of Bamako, Mali, where he was local acclaim. born and has lived all his life. In 1984, at the age of 19, Diabaté joined Diabaté is at the vanguard of a new gen- the group of young musicians who ac- eration of Malian griots who are constantly companied the great diva Kandia Kouyate, looking for ways of modernizing and the best-known female griot singer in Mali, still honoring their traditional music. He and toured Africa extensively with her. founded and directs a music school in Ba- Since this first tour outside of Mali, Diabaté mako where Malian children from different has consistently toured the world, having social backgrounds learn to play traditional played over 2000 concerts and partici- instruments and dance. Many argue that pated in over 170 festivals. music is Mali’s greatest resource; Diabaté Diabaté first traveled to the United amply demonstrates it. Kingdom in 1986, when he accompanied Diabaté was born in the 1960s into a another Malian singer, Ousmane Sacko, family of griots: 71 generations of kora and ended up staying in London for seven players. His father, Sidiki Diabaté (c. 1922- months. During this period, at the age of 96), was a kora player of legendary fame 21, he recorded his first solo album, Kaira. in West Africa. Sidiki was named “King of The groundbreaking, critically lauded the Kora” at the prestigious international album was the first-ever solo kora record. Black Arts Festival Festac in 1977, and he It was recorded without retakes in a single continues to inspire countless kora players afternoon. to this day. Born in the Gambia to Malian While in the U.K. he worked informally with parents, Sidiki settled in Mali after World musicians from many different fields of War II and became famous for his virtuosic music and encountered traditions that he and idiosyncratic style of playing. After had not previously known, such as Indian Mali became independent in 1960, Sidiki classical music, from which he derived was invited to join the Ensemble National the jugalbandi idea—a musical dialogue Instrumental, along with his first wife between two instruments—that has since (Diabaté’s mother), the singer Nene Koita. become one of his hallmarks. Sidiki and Nene were beloved by the first His first major collaboration, with the president of Mali, Modibo Keita, who gave Spanish flamenco group Ketama, came them the land on which the family house about largely by coincidence. Diabaté had still stands, underneath the presidential been invited to play at a party in London palace in Bamako. This was the musi- in 1988, and Ketama, signed to the same cal environment in which Diabaté was label, were also there. As Diabaté per- raised, although he was self taught, never formed, members of Ketama began doing learning directly from his father except by palmas (interlocked flamenco clapping) to listening. accompany him. Diabaté was amazed at A childhood illness left Diabaté with one the Spanish group’s intuitive understand- leg paralyzed, so he has always had to ing of the rhythmic complexities of his mu- walk with crutches. In a country like Mali, sic. The next day they all went to journalist where there is little if any formal-sector and broadcaster Lucy Duran’s house and help for the disabled, Diabaté has had to created what would become Songhai 1. struggle twice as hard as other musicians This spirit of collaboration continued with to establish a place for himself.
22 Diabaté’s elaborate 1992 project with The In 2001 came Jarabi, The Best Of Toumani Symmetric Orchestra, Shake The Whole Diabaté, the first internationally released World. Released only in Japan and Mali, compilation of music by individual kora the album confirmed his reputation as a player, a testament to Diabaté’s status as maverick impressive even to purists. Dia- the world’s premier korist. His next album baté explains, “The griot’s role is making was MALIcool, a collaboration with the communication between people, but not American free jazz trombonist Roswell just historical communication. In Mali I can Rudd that featured an interpretation of work in the traditional way; elsewhere I Thelonius Monk’s “Hank,” a swinging ver- can work in a different way. Why not?” sion of a Welsh folk song, and a version of Back in Bamako in the early and mid- Beethoven’s “Ode to Joy.” 1990s, Diabaté began to gather a number In recent years, Diabaté has received of exceptionally talented young musi- numerous accolades for his contribution cians—such as Ba Sekou Kouyate on the to the development of the kora, and as ngoni—into with an instrumental ensemble a key figure in African music overall. In that can be heard on his album Djelika. 2003, he received the Tamani d’or, a prize Although this was a period in Mali when awarded to the best kora player in the synthesizers, electric guitars and drum world. In 2004, he garnered the Zyriab des machines were prevalent, Diabaté stead- Virtuoses, a UNESCO prize awarded at fastly held out for an all-acoustic sound, the Mawazine Festival organized by King finding other ways of modernizing the mu- Mohammed VI of Morocco. Diabaté is sic. In this period, Diabaté went to Madrid the first black African ever to receive that to record Songhai 2, which he believes to prize. be even better than the first album. Toumani Diabaté has been taking steps to Over the last decade, Diabaté has partici- help preserve the legacy of traditional kora pated in many other recording projects, music in Mali, and to educate future gen- including Ali Farka Touré’s eponymous erations of their rich musical heritage while debut album for World Circuit, Salif Keita’s encouraging them to explore the creative GRAMMY-winning album Papa, and possibilities within music. He is President/ Kasse Mady Diabaté’s GRAMMY-nomi- Director of Mandinka Kora Productions, nated 2004 album, Kassi Kasse. In 1998, which actively promotes the kora through Diabaté recorded a kora duets album with workshops, festivals, and various cultural Ballake Sissoko: New Ancient Strings, events. Diabaté is also a teacher of the named after the 1970s classic made by kora and of modern and traditional music their fathers, Cordes Anciennes (Ancient at the Balla Fasseke Conservatoire of Arts, Strings). Culture and Multimedia. 1999 saw the release Kulanjan, Diabaté’s Diabaté has entered into another cre- duo album with Taj Mahal, whom Diabaté atively fruitful period. He reunited with nicknamed “Daddy Kouyate.” Taj, Diabaté Ballake Sissoko for a track on Sissoko’s and six other Malian musicians—includ- new album, Tomora, and also appears on ing the singers Kasse Mady and Ramata the title track of Salif Keita’s latest record- Diakite—explored the common ground ing, Mbemba. Diabaté started working between the blues and the great musical with World Circuit/Nonesuch in 2004 on traditions of Western Mali. Taj Mahal had the Hotel Mandé Sessions trilogy of album listened to and played with many great recorded by Nick Gold at the Mandé Hotel kora players, and had always been struck in Bamako. The first release from these what most struck by the resemblance to sessions, the duets album with Ali Farka the blues he heard in the plucking tech- Touré called In the Heart of the Moon, niques of the kora and other Malian string was released to worldwide critical acclaim instruments. To Taj, the traditional Malian in 2005 and won the GRAMMY for Best piece “Kulanjan”—which he had first heard Traditional World Music Album. The sec- on the Cordes Anciennes album—had ond release in the series is Boulevard de epitomized the connection. l’Indépendance.
23 Congratulates the 2009 recipient of the WFCR Arts & Humanities Award Kevin Rhodes
Music Director of the Springfield Symphony Orchestra
The WFCR Arts & Humanities Award has been established by the WFCR Foundation to recognize the contributions of local talent, and to bring awareness to the critical role played by musicians, artists, dancers, actors, writers, and teachers in the greater Pioneer Valley.
Join WFCR on May 4th for the first annual Arts & Humanities Award Gala in celebration of the arts & culture in our community.
For details and tickets visit wfcr.org 24 Wednesday, May 13, 7:30P.M., 2009 UMass Fine Arts Center Concert Hall
Founder – Alvin Ailey
Artistic Director – JUDITH JAMISON
Associate Artistic Director – Masazumi Chaya
Company Members Guillermo Asca, Olivia Bowman, Kirven J. Boyd, Hope Boykin, Clifton Brown, Anthony Burrell, Courtney Brené Corbin, Rosalyn Deshauteurs, Khilea Douglass, Antonio Douthit, Vernard J. Gilmore, Abdur-Rahim Jackson, Chris Jackson, Gwynenn Taylor Jones, Willy Laury, Yannick Lebrun, Roxanne Lyst, Amos J. Machanic, Jr., Rachael McLaren, Aisha Mitchell, Akua Parker, Briana Reed, Jamar Roberts, Renee Robinson, Matthew Rushing, Glenn Allen Sims, Linda Celeste Sims, Yusha-Marie Sorzano, Constance Stamatiou, Tina Monica Williams, Marcus Jarrell Willis
Executive Director - Sharon Gersten Luckman
Major funding is provided by the National Endowment for the Arts, the New York City Department of Cultural Affairs, the New York State Council on the Arts, a State agency, Altria Group, Inc., American Express, Bloomberg, The Booth Ferris Foundation, J.P. Morgan, MetLife Foundation, The Shubert Foundation, The Prudential Foundation and Target.
Official Vehicle Partner
Tonight’s performance is sponsored by The Davis Group, The Daily Hampshire Gazette and WFCR 88.5FM/WNNZ 640AM
25 PROGRAM Anniversary Highlights ALVIN AILEY AMERICAN DANCE THEATER AT 50 A Golden Anniversary Celebration (2008) Steven Budlong, Executive Producer Produced and Directed by Amanda Rogers and Stephen Mann Edited by Steve Pecarific This film was made possible by the generous support of Citi.
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BLUES SUITE (1958) (Excerpt) Blues Suite is dedicated to the memory of our Brother John Sellers. Choreography by Alvin Ailey Restaged by Masazumi Chaya Music: Traditional Decor and costume design by Ves Harper Costume redesigned by Normand Maxon Original lighting designed by Nicola Cernovitch Lighting design by Chenault Spence Good Morning Blues...... The Company I Cried...... Glenn Allen Sims and Company
STREAMS (1970) (Excerpt) Choreography by Alvin Ailey Music by Miloslav Kabelac (“Eight Inventions” Opus 45)* Costume design by A. Christina Giannini Lighting design by Chenault Spence Scherzo Amos J. Machanic, Jr., Abdur-Rahim Jackson
*By arrangement with Boosey & Hawkes, Inc., publishers and copyright owners. CHORAL DANCES (1971) (Excerpt) Choreography by Alvin Ailey Music by Benjamin Britten (Choral Dances from “Gloriana”) Words by William Plomer Costume designs by A. Christina Giannini Lighting design by Nicola Cernovitch Country Girls Hope Boykin, Rosalyn Deshauteurs, Tina Monica Williams, Courtney Brené Corbin, Olivia Bowman, Roxanne Lyst
26 MARY LOU’S MASS (1971) (Excerpt) Choreography by Alvin Ailey Music by Mary Lou Williams (“Our Father”) Costume design by A. Christina Giannini Lighting design by Chenault Spence Gwynenn Taylor Jones THE LARK ASCENDING (1972) (Excerpt) Choreography by Alvin Ailey Music by Ralph Vaughan Williams (“The Lark Ascending” Romance for Violin and Orchestra)* Costume design by Bea Feitler Lighting design by Chenault Spence Rachael McLaren, Glenn Allen Sims * Used with permission of Oxford University Press, Inc. HIDDEN RITES (1973) (Excerpt) Choreography by Alvin Ailey Music by Patrice Sciortino (“Les Cyclopes”)* Scenic design by Paul Sylbert Costume design by Bea Feitler Lighting design by Chenault Spence Of Love Khilea Douglass, Willy Laury *Music courtesy of Patrice Sciortino from the recording Les Cyclopes – published by Editions Musicales Transatlantiques. NIGHT CREATURE from “Ailey Celebrates Ellington” (1974) (Excerpt) Choreography by Alvin Ailey Music by Duke Ellington (“Night Creature”)* Costumes by Jane Greenwood Costume Design Costume production management by Elissa Tatigikis Iberte Costumes rebuilt by Parsons Meares Lighting design by Chenault Spence “Night creatures, unlike stars, do not come OUT at night they come ON, each thinking that before the night is out he or she will be the star.” Duke Ellington Movement II Rosalyn Deshauteurs, Amos J. Machanic, Jr., Akua Parker, Aisha Mitchell, Courtney Brené Corbin, Olivia Bowman, Rachael McLaren, Yusha-Marie Sorzano,
27 Kirven J. Boyd, Chris Jackson, Willy Laury, Marcus Jarrell Willis, Yannick Lebrun, Anthony Burrell *Used by arrangement with G. Schirmer, Inc., publisher and copyright owner. CRY (1971) (Excerpt) For all Black women everywhere especially our mothers. Choreography by Alvin Ailey Music by Chuck Griffin* Costume design by A. Christina Giannini Lighting design by Chenault Spence Constance Stamatiou * “Right On, Be Free” performed by The Voices of East Harlem Used with permission of the publisher, Really Together Music.
-INTERMISSION-
PHASES (1980) (Excerpt) Choreography by Alvin Ailey Restaged by Masazumi Chaya Music: “Flight Time” by L. Mizell; played by Donald Byrd* Costumes by A. Christina Giannini Lighting by Chenault Spence Flight Time Renee Robinson, Jamar Roberts, Chris Jackson, Courtney Brené Corbin, Tina Monica Williams, Willy Laury, Khilea Douglass, Yusha-Marie Sorzano *Courtesy of Al Ruby Music Inc. and Almo Music Corp. LANDSCAPE (1981) (Excerpt) Choreography by Alvin Ailey Music by Bela Bartok (“Piano Concerto no.3”)* Costume design by Christina Giannini Lighting design by Chenault Spence Romance Gwynenn Taylor Jones, Amos J. Machanic, Jr., Abdur-Rahim Jackson, Marcus Jarrell Willis, Yannick Lebrun, Chris Jackson *By arrangement with Boosey & Hawkes, Inc., publishers and copyright owners.
28 FOR “BIRD” WITH LOVE From all of us forever touched by his magic (1984) (Excerpt) Choreography by Alvin Ailey Music by Charlie Parker, Dizzy Gillespie, Count Basie, Jerome Kern Original music composed, assembled and conducted by Coleridge Taylor Perkinson Set and costume design by Randy Barcelo Lighting by Timothy Hunter A Night in Tunisia “Bird” (A man, a musician) Alto Sax: Anthony Burrell Men Close to Him - musicians Trumpet: Kirven J. Boyd Piano: Yannick Lebrun Bass: Guillermo Asca Drum: Abdur-Rahim Jackson Tenor Sax: Willy Laury Women Close to Him - 3 singers and a pianist Hope Boykin, Olivia Bowman, Rosalyn Deshauteurs, Roxanne Lyst Showgirls Akua Parker, Aisha Mitchell The Progenitor, The Man Who Came Before, A Club Manager Anthony Burrell
CAVERNA MAGICA (1986) (Excerpt) Choreography by Alvin Ailey Music by Andreas Vollenweider (“Caverna Magica,” “White Winds,” and “Behind the Wall”) Décor and Costume design by Carol Vollet Garner Costumes redesigned by Jon Taylor Lighting design by Timothy Hunter Antonio Douthit
OPUS MCSHANN (l988) (Excerpt) Choreography by Alvin Ailey Music composed by Jay McShann and Walter Brown Music performed by Jay McShann Décor and Costume design by Randy Barcelo Costumes redesigned by Jon Taylor and Corin Wright Lighting design by Timothy Hunter Jumpin’ the Blues Yusha-Marie Sorzano, Kirven J. Boyd, Gwynenn Taylor Jones, Anthony Burrell, Courtney Brené Corbin, Marcus Jarrell Willis, Khilea Douglass, Chris Jackson, Rachael McLaren, Yannick Lebrun, Constance Stamatiou, Willy Laury, Rosalyn Deshauteurs, Guillermo Asca
29 -INTERMISSION-
REVELATIONS (1960) Choreography by Alvin Ailey Music: Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW I Been ‘Buked...... The Company Arranged by Hall Johnson* Didn’t My Lord Deliver Daniel...... Chris Jackson, Roxanne Lyst, Arranged by James Miller+ Courtney Brené Corbin Fix Me, Jesus...... Linda Celeste Sims, Jamar Roberts Arranged by Hall Johnson TAKE ME TO THE WATER Processional/Honor, Honor...... Kirven J. Boyd, Khilea Douglass, Adapted and arranged by Howard A. Roberts Marcus Jarrell Willis, Chris Jackson Wade in the Water...... Rosalyn Deshauteurs, Matthew Rushing, Adapted and arranged by Howard A. Roberts Renee Robinson “Wade in the Water” sequence by Ella Jenkins. “A Man Went Down to the River” is an original composition by Ella Jenkins. I Wanna Be Ready...... Glenn Allen Sims Arranged by James Miller MOVE, MEMBERS, MOVE Sinner Man...... Anthony Burrell, Yannick Lebrun, Abdur-Rahim Jackson Adapted and arranged by Howard A. Roberts The Day is Past and Gone...... The Company Arranged by Howard A. Roberts and Brother John Sellers You May Run On...... The Company Arranged by Howard A. Roberts and Brother John Sellers
Rocka My Soul in the Bosom of Abraham...... The Company Adapted and arranged by Howard A. Roberts * Used by arrangement with G. Schirmer, Inc., publisher and copyright owner. + Used by special arrangement with Galaxy Music Corporation, New York City. All performances of Revelations are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wife Barbara and her deep commitment to the Alvin Ailey American Dance Theater.
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30 ALL ABOUT AILEY the Company continues Mr. Ailey’s mission by CELEBRATING 50 YEARS presenting important works from the past and commissioning new ones to add to an ever-evolving This year Alvin Ailey American Dance Theater, repertoire that now encompasses over 200 works America’s cultural ambassador to the world, marks by more than 80 choreographers. its 50th anniversary of bringing African-American cultural expression and the American modern dance Before his untimely death in 1989, Mr. Ailey chose tradition to the world’s stages. Judith Jamison to become Artistic Director of Alvin Ailey American Dance Theater. As the Company The 50th anniversary celebration has been marked looks toward the next fifty years and beyond, by numerous festivities and once-in-a-lifetime Jamison’s own remarkable vision lights the way for events, including a week of free performances and this celebration. Beauty, spirit, hope and passion dance classes in all five boroughs of New York City, know no bounds. That is the power of Ailey. an all-day street party in Manhattan and a hugely successful five-week season at New York City Alvin Ailey American Dance Theater gratefully acknowledges Center in December 2008. Exclusive anniversary The Joan & Sandy Weill Global Ambassador Fund, merchandise and collectors’ items have been which provides vital support for Ailey’s national and introduced to commemorate this special occasion, international tours. including a Movado timepiece, a new book and JUDITH JAMISON 2009 calendar featuring brand new photographs of ARTISTIC DIRECTOR the Company and a Barbie® doll designed by Judith Jamison, modeled after an Ailey dancer. Each of Judith Jamison was appointed Artistic Director of these events and items reflects the artistry and Alvin Ailey American Dance Theater in December passion that the Ailey company has embodied since 1989 at the request of her mentor, Alvin Ailey, who its beginning. personally chose her to succeed him before his un- timely death. A native of Philadelphia, she studied In 1958, Alvin Ailey led a group of young black with Marion Cuyjet, was discovered by Agnes de modern dancers in a performance in New York City Mille and made her New York debut with American that changed forever the perception of American Ballet Theatre in 1964. She became a member of dance. Since then, the Ailey company has gone the Alvin Ailey American Dance Theater in 1965 on to perform for an estimated 21 million people on and danced with the company for 15 years to great six continents, including two historic residencies in acclaim. Recognizing her extraordinary talent, Mr. South Africa and the first performances ever by a Ailey created some of his most enduring roles for modern dance company at the legendary Mariinsky her, most notably the tour de force solo, Cry. Theatre in Russia. After leaving the Company in 1980, Ms. Jamison Born in Rogers, Texas on January 5, 1931, Alvin appeared as a guest artist with ballet companies all Ailey was first introduced to dance by performances over the world and starred in the hit Broadway mu- of the Katherine Dunham Dance Company and the sical Sophisticated Ladies. In 1988, she formed her Ballet Russe de Monte Carlo. His formal dance own company, The Jamison Project; a PBS special training began when his friend Carmen de Laval- depicting her creative process, Judith Jamison: The lade encouraged him to join her in classes taught by Dancemaker, aired nationally the same year. modern dance pioneer Lester Horton. As a highly regarded choreographer, Ms. Jamison When Mr. Ailey began creating dance, he drew has created works for many companies. Her most upon his “blood memories” of Texas, the blues, recent ballet, Reminiscin’, was inspired by great spirituals and gospel music for inspiration, resulting female jazz artists and Edward Hopper’s famous in the creation of his most popular and critically painting Nighthawks. Love Stories, with additional acclaimed work - Revelations. Since its premiere choreography by Robert Battle and Rennie Harris, in 1960, Mr. Ailey’s masterpiece has been seen by was created in 2004. In 2002, HERE . . .NOW. more people around the world than any other work was commissioned for the Cultural Olympiad in Salt of dance. Lake City. She choreographed Double Exposure Although he created 79 ballets in his lifetime, for the Lincoln Center Festival in July 2000. Divin- Alvin Ailey maintained that his company was not ing (1984), Rift (1991), Riverside (1995), Sweet exclusively a repository for his own work. Today, Release (1996), Echo: Far From Home (1998) and Hymn (1993), her stirring tribute to Mr. Ailey, are
31 other major works she has choreographed for the in establishing the B.F.A. program between The Company. Ailey School and Fordham University, which offers a unique combination of world-class dance training Ms. Jamison is an author whose autobiography, and a superior liberal arts education. Following the Dancing Spirit, was edited by Jacqueline Kennedy tradition of Alvin Ailey, Ms. Jamison is dedicated to Onassis and published by Doubleday in 1993. asserting the prominence of the arts in our culture, She is the recipient of many awards and honorary spearheading initiatives to bring dance into the degrees, including a prime time Emmy Award and community and programs that introduce children to an American Choreography Award for Outstanding the arts. She remains committed to promoting the Choreography in the PBS “Great Performances: significance of the Ailey legacy--dance as a medium Dance In America” special, A Hymn for Alvin Ailey, for honoring the past, celebrating the present and and an honorary doctorate from Howard University. fearlessly reaching into the future. The move to In December 1999, Ms. Jamison was presented Ailey’s permanent home in 2004, a state-of-the-art with the Kennedy Center Honor, recognizing her building located at 55th Street and 9th Avenue, was lifetime contributions to American culture through the realization of her long-awaited dream. the performing arts. In 2001, she received the Algur H. Meadows Award from Southern Methodist MASAZUMI CHAYA University and was presented with a National Medal ASSOCIATE ARTISTIC DIRECTOR of Arts, the most prestigious award presented to artists in the United States. In 2003, she received Masazumi Chaya was born in Fukuoka, Japan, the “Making a Difference” Award by the NAACP where he began his classical ballet training. Upon ACT-SO. In 2004, Ms. Jamison received the Paul moving to New York in December 1970, he studied Robeson award from the Actors’ Equity Associa- modern dance and performed with the Richard tion in recognition of her outstanding contribution Englund Repertory Company. Mr. Chaya joined to the performing arts and commitment to the right Alvin Ailey American Dance Theater in 1972 and of all people to live in dignity and peace. In 2007, performed with the Company for 15 years. In 1988, she was awarded a Bessie Award for her lifetime he became the Company’s Rehearsal Director after commitment to the preservation and develop- serving as assistant rehearsal director for two years. ment of dance and the arts. Most recently, she A master teacher, both on tour with the Company was honored at “The BET Honors,” an event that and in his native Japan, he served as choreograph- recognizes the lives and achievements of leading ic assistant to Alvin Ailey and John Butler. In 1991, African-American luminaries. Mr. Chaya was named Associate Artistic Director of the Company. He continues to provide invaluable Today, Judith Jamison presides over the artisti- creative assistance in all facets of its operations. cally and fiscally vibrant Ailey organization. Her In 2002, Mr. Chaya coordinated the Company’s presence has been a catalyst, propelling the appearance at the Rockefeller Center Christmas organization in new directions – the development of tree-lighting ceremony, broadcast on NBC. the Women’s Choreography Initiative; performances at the 1996 Atlanta Olympic Games and the 2002 Mr. Chaya has staged numerous ballets including Cultural Olympiad in Salt Lake City where she Alvin Ailey’s Flowers for the State Ballet of Missouri carried the Olympic torch during the relay prior to (1990) and The River for the Royal Swedish Ballet the opening ceremonies; and two unprecedented (1993), Ballet Florida (1995), National Ballet of engagements in South Africa. In recent years, Prague (1995), Pennsylvania Ballet (1996) and she led the Company to historic performances at Colorado Ballet (1998). He has also restaged The the 2005 White Nights Festival in St. Petersburg, Mooche, The Stack-Up, Episodes, Bad Blood, Hid- Russia and the 2006 Les étés de la danse de den Rites, Urban Folk Dance and Witness for the Paris festival in Paris, France. Ms. Jamison has Company. At the beginning of his tenure as Associ- continued Mr. Ailey’s practice of showcasing the ate Artistic Director, Mr. Chaya restaged Ailey’s For talents of emerging choreographers from within “Bird” - With Love for a “Dance in America” program the ranks of the Company. As Artistic Director of entitled Alvin Ailey American Dance Theater: Steps The Ailey School, official school of the Alvin Ailey Ahead. In 2000, he restaged Ailey’s Night Creature American Dance Theater, she has helped to imple- for the Rome Opera House and The River for ment a multicultural curriculum including the dances LaScala Ballet. In 2003, he restaged The River for of West Africa and South India. She is an advocate North Carolina Dance Theater and for Julio Bocca’s for education in the arts and was a guiding force Ballet Argentina. Most recently, Mr. Chaya restaged
32 Flowers, The Road of the Phoebe Snow, Masekela KIRVEN J. BOYD (Boston, MA) began his formal Langage, and Blues Suite for the Company. dance training at the Boston Arts Academy and joined Boston Youth Moves in 1999 under the As a performer, Masazumi Chaya appeared on direction of Jim Viera and Jeannette Neill. He also Japanese television in both dramatic and musical trained on scholarship at the Boston Conservatory productions. He wishes to recognize the artistic and as a fellowship student at The Ailey School. contribution and spirit of his late friend and fellow Mr. Boyd has danced with Battleworks Dance artist, Michihiko Oka. Company, The Parsons Dance Company and Ailey RONNI FAVORS II. He joined the Company in 2004. REHEARSAL DIRECTOR HOPE BOYKIN (Durham, NC) is a three-time recipi- Ronni Favors began dancing as a child in her ent of the American Dance Festival’s Young Tuition hometown of Iowa City, Iowa. After studying at Scholarship. She attended Howard University the National Music Camp in Interlochen, MI as the and performed with Lloyd Whitmore’s New World recipient of the Camp Scholarship, she traveled Dance Company in Washington, DC. Ms. Boykin to New York to continue her training at The Ailey was a student and intern at The Ailey School. She School as a fellowship student. Ms. Favors was a was assistant to the late Talley Beatty and an member of Ailey II, Alvin Ailey American Dance The- original member of Complexions. Ms. Boykin was ater (AAADT) and the Lar Lubovitch Dance Com- a member of Philadanco and received a New York pany, and a recipient of the Min-On Art Award. She Dance and Performance “Bessie” Award. In 2005, served as Lar Lubovitch’s assistant in setting his Ms. Boykin choreographed Acceptance in Sur- works on several companies, including Cleveland render in collaboration with Abdur-Rahim Jackson Ballet, the Juilliard Dance Ensemble, Ballet du Nord and Matthew Rushing for AAADT. This season, and AAADT. Ms. Favors was the ballet instructor at she choreographed Go in Grace for the Company’s AileyCamp’s 1989 inaugural session in Kansas City 50th anniversary. Ms. Boykin joined the Company and served as Artistic Director of the Camp in 1990. in 2000. She was the founding Director of New York’s CAS/ CLIFTON BROWN (Goodyear, AZ) trained at AileyCamp and provided guidance in the national various schools including Take 5 Dance Academy, implementation of the program. Ms. Favors was Ballet Arizona, New School for the Arts and The named Assistant Rehearsal Director in 1997 and Ailey School, where he was a student in the Ailey/ Rehearsal Director in 1999. Ms. Favors engaged Fordham B.F.A. Program in Dance. Mr. Brown is and rehearsed local dance students who performed a recipient of a Donna Wood Foundation Award, a with the Company in Alvin Ailey’s Memoria in Johan- Level 1 ARTS award given by the National Founda- nesburg during AAADT’s return to South Africa in tion for Advancement in the Arts, and was a 2005 1998, as well as in Seattle in 2003 and 2008. nominee in the U.K. for a Critics Circle National WHO’S WHO IN THE COMPANY Dance Award for best male dancer. In 2007, Mr. Brown received a Bessie award in recognition of GUILLERMO ASCA (Rego Park, NY) or “Moe,” as his work with the Ailey company. He has performed he is affectionately known, graduated from LaGuar- with Earl Mosley’s Diversity of Dance and as a dia High School of the Performing Arts. He was a guest artist with the Miami City Ballet. Mr. Brown fellowship student at The Ailey School and danced joined the Company in 1999. with Ailey II, Ballet Metropolitano de Caracas, Ballet Hispanico, Dance Compass, Shapiro & Smith and ANTHONY BURRELL (Philadelphia, PA) began his Foot Prints Dance Project. Mr. Asca joined the training at Point Breeze Performing Arts Center at Company in 1994. the age of 12. He later studied at various institu- tions including Philadanco, Pennsylvania Ballet, OLIVIA BOWMAN (Brooklyn, NY) graduated from the University of the Arts, and The Ailey School. As LaGuardia High School of the Performing Arts. She a dancer and choreographer, Mr. Burrell worked received scholarships from North Carolina School with artists including Beyoncé, Destiny’s Child, and of the Arts and was a fellowship student at The Ailey Rihanna and is featured in several commercials, School. Ms. Bowman was a member of Donald videos, and feature films. He was also a member Byrd/The Group and Complexions. She joined the of Ailey II and is a national gold-medalist of the Company in 2001. NAACP ACT-SO Competition in Dance. Mr. Burrell first joined the Company in 2000.
33 COURTNEY BRENÉ CORBIN (Brentwood, TN) and received his B.F.A. from The Juilliard School. was born in Overland Park, KS. She began her He received scholarships from Freedom Theatre, dance training at Ballet Oklahoma. She continued Philadanco, Dance Theatre of Harlem, Boston her formal training at Dancenter North and the Ballet and The Ailey School. Mr. Jackson received School of Nashville Ballet. Ms. Corbin has also a Marion D. Cuyjet Award and was featured in the filmed a pilot for Nickelodeon and modeled in 2003 PBS “American Masters” documentary Juil- Harper’s Bazaar/Japan magazine. In May 2004, liard. He danced with Ailey II in 2000 and joined the Ms. Corbin graduated from The Ailey/Fordham Company in 2001. B.F.A. Program in Dance. She was a member of CHRIS JACKSON (Chicago, IL) began dancing at Ailey II and joined the Company in 2005. The Stairway of the Stars dance studio. In 1998, ROSALYN DESHAUTEURS (New Orleans, LA) he started his formal dance training at The Chicago studied at the New Orleans Center for Creative Arts. Academy for the Arts High School under the She trained at Perry Mansfield, the School of Ameri- direction of Anna Paskevska and Randy Duncan. can Ballet and The Ailey School. After receiving Mr. Jackson later went on to pursue training at her B.F.A. degree from The Juilliard School, Mrs. The Ailey School where he was a recipient of the Deshauteurs became a member of Ailey II. She 2001-2002 Alvin Ailey Fellowship. He was an joined the Company in 2000. apprentice with River North Dance Chicago, and was a member of Ailey ll. Mr. Jackson joined the KHILEA DOUGLASS (Baltimore, MD) received her company in 2004. dance training from Dance Theatre of Harlem, the Baltimore School for the Arts and The Ailey School, GWYNENN TAYLOR JONES (Berlin, PA) began where she was a fellowship student. Ms. Douglass her dance training with the Pittsburgh Youth Ballet danced with the Lula Washington Dance Theatre at the age of 13. She continued her studies at the and was a member of Ailey II. She joined the Ballet Met Dance Academy in Columbus, OH. Ms. Company in 2005. Jones moved to New York where she studied at The Ailey School as a fellowship student and later ANTONIO DOUTHIT (St. Louis, MO) began his became a member of Ailey II. She danced with Earl dance training at age 16 at the Center of Contem- Mosley Diversity of Dance, Fred Benjamin Dance porary Arts under the direction of Lee Nolting and Company, Cedar Lake Ensemble and performed at the Alexandra School of Ballet. He also trained choreography by George Faison for Aretha Franklin. at North Carolina School of the Arts, the Joffrey Ms. Jones joined the Company in 2004. Ballet School, San Francisco Ballet and the Dance Theatre of Harlem School. After graduating from WILLY LAURY (Paris, France) received his early high school in 1999, Mr. Douthit became a member dance training at the Janine Stanlowa Institute de of Dance Theatre of Harlem where he appeared Danse and the Studio Harmonic in Paris. Upon in featured roles in the ballets South African Suite, moving to New York City, Mr. Laury continued his Dougla, Concerto in F, Return and Dwight Rhoden’s dance education at SUNY Purchase, the Juilliard Twist. He was promoted to soloist in 2003. He also School, and The Ailey School where he performed performed with Les Grands Ballets Canadiens de works by Judith Jamison, Matthew Rushing, and Montréal. Mr. Douthit joined the Company in 2004. Ballett Frankfurt’s Alan Barnes. Mr Laury was featured in the motion picture Ever After and ap- VERNARD J. GILMORE (Chicago, IL) began peared in Italian Vogue and Nylon Magazine. He dancing at Curie Performing and Creative Arts High also worked with Men’s Health photographer Maria School in Chicago and later studied at the Joseph Elena Giuliani and was a member of Ailey II. Mr. Holmes Chicago Dance Theater with Marquita Levy, Laury joined the Company in 2004. Harriet Ross and Emily Stein. He attended Barat College as a dance scholarship recipient, received YANNICK LEBRUN (Cayenne, French Guiana) first place in the all-city NAACP ACT-SO Competi- began training in his native country at the Adaclam tion in Dance in 1993 and studied as a fellowship School under the guidance of Jeanine Verin. After student at The Ailey School. Mr. Gilmore is also a graduating high school in 2004, he moved to teacher and choreographer, and a former member New York City to study at The Ailey School as a of Ailey II. He joined the Company in 1997. fellowship student. Mr. Lebrun performed works by choreographers Troy Powell, Matthew Rushing, ABDUR-RAHIM JACKSON (Philadelphia, PA) is a Abdur-Rahim Jackson, Debbie Allen, Scott Rink, graduate of Franklin Learning Center High School Thaddeus Davis, Nilas Martins, and Dwight Rhoden
34 and danced with the Francesca Harper Project studied at The Ailey School as a fellowship student. Modo Fusion. He was also a member of Ailey II. In 1997, Ms. Reed graduated from The Juilliard Mr. Lebrun joined the Company in 2008. School and was a member of Ailey II. She joined the Company in 1998. ROXANNE LYST (Annapolis, MD) began her pro- fessional dance training in Washington, DC under JAMAR ROBERTS (Miami, FL) graduated from the the tutelage of Alfred Dove and Adrian Bolton. She New World School of the Arts. He trained at the continued her studies at Jacob’s Pillow, Pennsylva- Dance Empire of Miami and as a fellowship student nia Academy of Ballet, and as a fellowship student at The Ailey School. Mr. Roberts was a member of at The Ailey School. Ms. Lyst was a member of Ailey II and joined the Company in 2002. Ailey II and Philadanco. She joined the Company in 2004. RENEE ROBINSON (Washington, DC) began her training in classical ballet at the Jones-Haywood AMOS J. MACHANIC, JR. (Miami, FL) studied School of Ballet. She was the recipient of two dance at the New World School of the Arts and Ford Foundation scholarships to the School of continued his training at The Ailey School, where American Ballet and was awarded full scholarships he was a fellowship recipient. He was a member of to the Dance Theatre of Harlem School and The Ailey II and joined the Company in 1996. Ailey School. In 2003, she performed at The White House State Dinner in honor of the President of RACHAEL MCLAREN (Manitoba, Canada) began Kenya, Mwai Kibaki. Ms. Robinson was a member her formal dance training at the Royal Winnipeg of Ailey II and joined the Company in 1981. Ballet School. After graduating high school, she joined the Toronto cast of Mamma Mia!. Ms. McLar- MATTHEW RUSHING (Los Angeles, CA) began en moved to New York to study at The Ailey School his dance training at the Los Angeles County High as a fellowship student and later joined Ailey II. She School for the Arts. He received a Spotlight Award has performed works by Karole Armitage, Dwight and was named a Presidential Scholar in the Arts. Rhoden, Francesca Harper, and Nilas Martins. Ms. He trained at The Ailey School in New York City and McLaren joined the Company in 2008. later became a member of Ailey II, where he danced for a year. During his career, he has performed as AISHA MITCHELL (Syracuse, NY) received her a guest artist for galas in France, Russia, Canada primary dance training at the Onondaga Dance and Hungary and performed for former president Institute, Dance Centre North, and with Tony Bill Clinton’s inaugural presidential celebration. In Salatino of Syracuse University. She studied at 2003, Mr. Rushing performed at The White House North Carolina Dance Theater, Lines Ballet School, State Dinner in honor of the President of Kenya, The Joffrey Ballet School, and The Ailey School as Mwai Kibaki. He joined the Company in 1992. a fellowship student. Ms. Mitchell is a graduate of the Ailey/Fordham B.F.A. Program in Dance and GLENN ALLEN SIMS (Long Branch, NJ) began was a member of Ailey II. She performed works his dance training at the Academy of Dance Arts in by choreographers Alonzo King, Dwight Rhoden, Red Bank, NJ. He was a fellowship student at The Debbie Allen, Sean Curran, and Nacho Duato. Ms. Ailey School and performed in the Garden State Mitchell is a bronze medalist of a 2001 NAACP Arts Center’s Talent Expo in 1993. He attended National ACT-SO competition. She joined the The Juilliard School under the artistic direction of Company in 2008. Benjamin Harkarvy and performed works by Glen Tetley, Paul Taylor and Lila York. Mr. Sims has per- AKUA PARKER (Kinston, NC) began her ballet formed for the King of Morocco with choreography training at age three. In 2000, she joined Dance by Fred Benjamin and with Urban Dance Theater Theatre of Harlem, where she danced lead roles and Creative Outlet Dance Theater of Brooklyn. In in Giselle, Agon, and The Four Temperaments. 2004, Mr. Sims was inducted into the Long Branch Thereafter she danced with Cincinnati Ballet and High School’s Distinguished Alumni Hall of Fame. Ballet San Jose. Ms. Parker had the opportunity to He joined the Company in 1997. perform around the world and had the pleasure of working with legendary icons Fredric Franklin and LINDA CELESTE SIMS (Bronx, NY) began her Geoffrey Holder. She joined the Company in 2008. dance training at Ballet Hispanico School of Dance and is a graduate of La Guardia High School of the BRIANA REED (St. Petersberg, FL) began her Performing Arts. In her senior year, Mrs. Sims won dance training at the Academy of Ballet Arts and a Presidential Scholar award given by the National The Pinellas County Center for Arts. She also
35 Foundation for Advancement in the Arts. During the summers of 1993 and 1994, she was a scholarship student at the Pennsylvania Ballet School. She has danced with El Piccalo Theatro del la Opera and Ballet Hispanico. Mrs. Sims joined the Company in 1996. YUSHA-MARIE SORZANO (Miami, FL) is originally from Trinidad. She received her primary dance training from New World School of the Arts, The Miami Conservatory, and Dance Theatre of Harlem. Ms. Sorzano is a graduate of the Ailey/Fordham B.F.A. Program in Dance and was a member of Ailey II in her junior year. She performed with Na- than Trice/Rituals, TU Dance (Artistic Directors Uri Sands and Toni Pierce-Sands) and was a member of Complexions. Ms. Sorzano also performed with recording artists Destiny’s Child and Rihanna. She joined the company in 2007. CONSTANCE STAMATIOU (Charlotte, NC) began her dance training at Pat Hall’s Dance Unlimited and North Carolina Dance Theatre. In May 2002, she graduated from Northwest School of the Arts and studied at SUNY Purchase before becom- ing a fellowship student at The Ailey School. Ms. Stamatiou was a member of Ailey II and joined the Company in 2007. TINA MONICA WILLIAMS (Elizabeth, NJ) started dancing at a local dance school under the direc- tion of Michele Selvanto-Kowalski. In 1994, Ms. Williams began her formal training at The Ailey School, receiving a fellowship after her first year. She danced with Footprints Dance Company, The Millennium Project, The Shore Ballet Company, and was invited to perform in Italy in 1994 as part of a youth cultural exchange tour. In 1998, she was invited to join Ailey II. Ms. Williams joined the Company in 2000. MARCUS JARRELL WILLIS (Houston, TX) began his formal training at the Johnston Performing Arts Middle School, the High School for the Performing and Visual Arts and Discovery Dance Group in Houston, Texas. At age 16, he moved to New York City and studied at The Ailey School as a fellowship student. Mr. Willis is a recipient of a Level 1 ARTS award given by the National Foundation for the Advancement in the Arts and has received scholar- ships to many schools including the Juilliard School. He was a member of Ailey II and also worked with Pascal Rioult Dance Theater, Dominic Walsh Dance Theater, and Tania Pérez-Salas Compañía de The Ailey dancers are supported, in part, by Danza. Mr. Willis joined the Company in 2008. The Judith McDonough Kaminski Dancer Endowment Fund.
36 ALVIN AILEY® DANCE FOUNDATION BOARD OF TRUSTEES
Chairman Joan H. Weill President Henry McGee Chairman, Executive Committee Philip Laskawy
Vice-Chairmen Simin N. Allison Guido Goldman Bruce S. Gordon Arthur J. Mirante II John H. Schaefer Christopher J. Williams
James G. Abruzzo, Eleanor S. Applewhaite, Debby Ballard, Antoinette Cooper Blair, Judith Byrd-Blaylock, Anthony M. Carvette, Michael J. Cavanagh, Kathryn C. Chenault, David S. Daniel, Judith M. Davenport, Catherine Davis, Katherine Farley, Marion I. Fischer, Anita-Agnes O. Hassell, Judith Jamison, Richard L. Kauffman, Debra L. Lee, Linda M. Lindenbaum, Sharon Gersten Luckman, Arthur J. Mahon, Gabriella E. Morris, Nicolas S. Rohatyn, Peter K. Scaturro, Richard Speciale, Lemar Swinney, Julia A. Walker, Peter B. Walker
Chairmen Emeriti Stanley Plesent, Esq. Harold Levine
ALVIN AILEY® DANCE FOUNDATION ADMINISTRATIVE STAFF Recipient of a National Medal of Arts Executive Director – Sharon Gersten Luckman Calvin Hunt – Senior Director, Performance and Production Bennett Rink – Senior Director, Development and External Affairs
ALVIN AILEY® AMERICAN DANCE THEATER Dacquiri T’Shaun Smittick Company Manager E.J. Corrigan Technical Director Kristin Colvin Young Stage Manager Jennifer McGrath Assistant Stage Manager Jon Taylor Wardrobe Supervisor Al Crawford Lighting Director Evan O’Brient Assistant Lighting Director David Kerr Master Electrician Joe Gaito Master Carpenter Adam Omeljanuik Sound Engineer Samuel Deshauteurs Property Master Andrew Blacks Flyman Brian Luftig Assistant Electrician Corin Wright Senior Wardrobe Assistant Dante Baylor Wardrobe Assistant Sarah Alexander Assistant Company Manager Christina Collura Performance and Production Associate/Ticket Coordinator
37 Laura Duelfer The Ailey School Production Coordinator/Production Assistant Masazumi Chaya Associate Artistic Director/Company Teacher Ronni Favors Rehearsal Director/Company Teacher Donald J. Rose M.D. Director of the Harkness Center for Dance Injuries, Hospital for Joint Disease Shaw Bronner Director of Physical Therapy Sheyi Ojofeitimi Physical Therapist Laura Becica Physical Therapist Isabelle Quattlebaum Business Manager, AAADT and Ailey II
The dancers appearing in this performance are members of the American Guild of Musical Artists AFL-CIO, the labor union representing professional dancers, singers, and staging personnel in the United States. The production crew are members of the International Alliance of Theatrical Stage Employees (IATSE).
TOURING CONTACT OPUS 3 ARTISTS 470 Park Avenue South, 9th Fl North New York, NY 10016 Telephone: 212 584 7500 Fax: 646 300 8200 www.opus3artists.com
Paul Szilard, Impresario Emeritus
PRODUCTION CREDITS Lighting system provided by 4Wall Entertainment. Touring sound system provided by New York Audio Services Inc.
American Airlines is the Official Airline of the Alvin Ailey American Dance Theater.
AILEY TOUR MERCHANDISE Ailey Tour Merchandise and aileyboutique.com are managed by The Araca Group www.araca.com or (212) 869-0070 Caryn Morrow, Tour Merchandise Manager
For more information on Alvin Ailey Dance Foundation, Ailey II, The Ailey School, Arts In Education & Community Programs, The Ailey Extension, Group Rates & Special Visits, and to shop at the Ailey Boutique: The Joan Weill Center for Dance 405 West 55th Street (at 9th Avenue) New York, NY 10019-4402, Tel: (212) 405-9000, Fax: (212) 405-9001 www.alvinailey.org
38 39 40 Investing in our Future
Studies repeatedly show that children and young adults who study the arts are much more successful in life than those who do not. The arts teach important life skills—creative and critical thinking, self-discipline and individual expressiveness. Last year over 10,000 students and community members participated in the Fine Arts Center’s performing and visual arts residencies, which allowed artists and students to connect in workshops, lectures and special demonstrations beyond public performances. This intellectual cultivation fuels learning, innovation and our creative economy. The Fine Arts Center knows what it means to invest in our youth and communities but we need you to invest in us. Donations from our Friends have a direct impact on the quality and quantity of our outreach. Please make your gift and help us continue this good work. You may give online at www.umass.edu/giving. Remember the power to change our world comes when we unite around a common passion.
41 BOARD & FINE ARTS CENTER STAFF
FRIENDS BOARD OF DIRECTORS community relations manager, Anna Robbins interim marketing & development assistant, HONORARY Jessica Barker JoAnne J. Finck Frederick C. Tillis marketing assistant, Jorge Luis González Chair Director Emeritus marketing intern, Martin Meccouri Ian H. Fraser Michael Haley BOX OFFICE Vice Chair Jimmy Heath manager, Steven Coombs assistant manager, Richard Ballon Mary-Ellen Anderson Yusef Lateef PRODUCTION SERVICES William Baczek Stan Rosenberg Billy Taylor director of operations, Lewis E. Louraine, Jr. Martha Borawski associate director of operations, Fritz Farrington Peter Tolan Brandt lighting director, Erica McIntyre Rebecca Caplice Lois Torf audio director, Michael McLaughlin Kevin J. Chrobak George Trakas production stage manager, Brenda Cortina audience services manager, Heather Bell Carol Moore Cutting EMERITUS A. Rima Dael office manager, Racquel Caposella Frank Anderson assistant technical director, Bob Mahnken William A. Darity Barbara C. Bernard Steven K. Daury EDUCATION Richard Covell education manager, Lori Tuominen Allen Davis Honoré David Lori J. Friedman program director, arts council, Sally O’Shea Betsy Egan jazz in july interim director, Frank Newton Mansour Ghalibaf Carl Eger associate director of academic programs, Fran Goldsher Seymour Frankel John Jenkins Nancy J. Hamel Arnold Friedmann academic program manager, lively arts, Legrand Hines Jr. Gwendolyn Glass Donna Carpenter Justine G. Alfred L. Griggs PERFORMING ARTS PROGRAMS Holdsworth Merilee Hill Asian Arts & Culture Motoko Inoue William Hogan director, Ranjanaa Devi assistant to the program director, Sue McFarland Aaron Julien Dolly Jolly Alexandra Kennedy Dave Martula Center Series James F. Mallet Kathleen Mullin director of programming, Kathryn Maguet assistant director of programming, Gregory A. Malynoski Sandra Parent Halina Kusleika Lorna M. Peterson Zina Tillona Tini Sawicki Robert Mugar New WORLD Theater Francisco Solé Yacubian artistic director, Andrea Assaf William T. Stapleton director of design and publicity, Yvonne Mendez Sarah Tanner office manager, Richard Caiander Karen A. Tarlow grants coordinator, Chris Rohmann audience & community development coordinator, William H. Truswell Nicole Young program curator, Priscilla Page ADMINISTRATION VISUAL ARTS PROGRAMS director, Dr. Willie L. Hill, Jr. associate director, Dennis Conway University Gallery assistant to director, Kate Copenhaver director, Loretta Yarlow gallery manager, Craig Allaben BUSINESS OFFICE collection registrar, Justin Griswold director of administration and finance, curator of education, Eva Fierst Margaret Curtiss gallery intern, Jacqueline Maidana business office manager, Sonia Kudla technology manager, Christine Texiera Augusta Savage Gallery bookkeeper, Cyn Horton director, Terry Jenoure department assistant, Connie Whigham gallery manager, Alexia Cota MARKETING AND DEVELOPMENT Hampden & Central Galleries director of development, Lucia Miller director, Anne La Prade director of marketing, Shawn Farley gallery manager, John Simpson
42 Thank you to all the Friends of the Fine Arts Center who play an integral part in making possible our performances, exhibits and educational programs. We especially want to recognize the following donors whose generosity helps to support artist educational residencies, the Angel Ticket program, our several endowments, and our unrestricted annual fund benefiting all programming. Fine Arts Center donors make a difference! List from July 1, 2007- March 4, 2009
INDIVIDUALS Eric & Barbara Carle Jerome & Nancy Myers Chancellor’s Circle Steven & Alejandra Daury Francine & Frank Ozereko Ruah Donnelly & Steven Dinkelaker Cindy, Gordy & Jack Palley $10,000 and above Betsy & Dick Egan Mark & Joanne Peterson Jacob Epstein Donna Estabrooks Lyndon N. Preston Tom Friedman Linda & Ralph Faulkingham Janine Roberts Joel Sternfeld Sharon Fross David & Sharon Rogalski Teddi & Billy Taylor Jamie Hartwright & Family Chris Rohmann Merilee & Sandy Hill Patricia Romney & Paul Wiley Frederick C. & E. Louise Tillis Ticia Kane & Peter Healey Margaret Rosenberry Peter & Leslie Tolan Nicholas B. Kuckel Gloria & James Russell James Lumley Jane & Peter Stein Leadership Circle James Mallet Susan Stoops $5,000 - $9,999 David & Tanyss Martula Mary Tuttle Christin A. Couture Wesley Montgomery Janna Ugone & Peter Whalen T. Marc Futter Walter & Kathy Mullin Joann Vitale Jennifer Lind & Joshua Hornick Thomas & Gena O’Brien Katherine Vorwerk & Robert Feldman John & Maryanne Peterson Edward W. & Evelyn Westhead John & Patricia Kendzierski Kirsten Pitts Hilary & Christopher Woodcock Betsy Siersma Janet M. Rifkin & David R. Kaplan Sue Woodfork Lois B. Torf ‘46 Lorna Ritz Harry & Charlena Seymour Patron Presenter’s Circle Ben Smar $100 - $249 $2,500 - $4,999 Elizabeth Souza & William Stapleton Anonymous Gwendolyn Glass Lorin Starr Douglas & Doris Abbott Paul D. Stenard’49 Donna Abelli Motoko Inoue Mara Superior Hayat N. Abuza Elizabeth Lee Loughran Ruth K. Webber Ron Ackerman & Cleo Gorman Daniel J. Sullivan ‘65 Joan Welch Ira S. & Bina G. Addes Deter Wisniewski Douglas W. Adler Director’s Circle Nicholas Xenos & Lynn Peterfreund Marylouise Almeida $1,000 - $2,499 Robert Mugar Yacubian Frank & Elaine Anderson Anonymous Paul & Marie Appleby Jeffrey & Mary-Ellen Anderson Sustainer Ronald J. Archer Horace C. & Gloria B. Boyer $250 - $499 Judith Ashkin Rebecca Caplice & Joseph Poirier Naoko N. Akamatsu Charles & Deborah Austin William A. & Trudy Darity Maury Barondes William R. Austin Don & Honoré David Alan Calhoun & Barbara Aiken Judith & James Averill Ian H Fraser & Pamela Bartlett Dhipati & Anjusree Chanda Jean Bach Laurie Frazer & Kevin Chrobak Ananya Chatterjea Joe M. Baillie Roger E. & JoAnne J. Finck Dr. & Mrs. Charles E. Clapp Andrew H. Balder & Sally & Al Griggs Michael Cohen Cynthia A. Sommer Jayant & Alissa Haksar Charles Cohn Antoni & Florence Baszak Michael & Joan Haley Gabriella DeFerrari Barbara Benda Jenkins & Eli Kwartler Bryan C. Harvey & J. Lynn Griesemer Jaine & John Dion Steve Berlin-Chavez Marie Hess Ruth V. Elcan Michael & Tina Berins Beverly & Willie L. Hill, Jr. Seymour Frankel Barbara C. Bernard John & Justine Holdsworth Nnenna Freelon Olivia Bernard Alexandra Kennedy Lori J. Friedman Linda Delone Best in memory of Walter & Kathy Mullin Arnold & Susi Friedmann Sandy Fullen Sandra & Mark Parent Don & Anne Gasiorowski Soren & Sue Ellen Bisgaard Lorna & Dale Peterson Barbara & Joseph Goldstein Jeff & Marilyn Blaustein Catharine Porter & Gordon DeWerth Paul & Nancy Hamel Robert M. Boland Scott Prior & Nanny Vonnegut Nancy & Bruce Goldstein Rosalie & Kenneth Boutin T.R. Rosenberg & Laurel Glocheski Harold & Frances Hatch Patricia L. Branch Elizabeth Stone Carolyn Hayden John & Jennifer Brelsford Sarah & Mark Tanner Legrand & Joyce Hines Michael Bulman & Karen A. Tarlow & John A. Montanari Amy Johnquest Ronnie Janoff-Bulman Zina Tillona Carol LeWitt H. Robert Burger Peter & Maija Lillya Anne & Anthony Burton Benefactor David & Carole Malek Barton Byg & Jan Whitaker $500 - $999 Greg & Kathy Malynoski Elizabeth & Thomas Caine Anonymous Arthur & Elaine Mange Roger Caouette Martha Borawski & William Brandt John McCarthy James & Constance Cappelli A. Rima Dael & Brandon Braxton Edward Mitchell Neil & Mary Carlson
43 Neil & Mary Carlson Halina & Neil Kusleika Jack Szpiler & Colleen Ahern Daniel & Susan Carmody Boyd & Janice Kynard John D. & Mercedes M. Taylor Liz Chalfin Gary & Nancy Lamoureaux Jeffrey M. Tenenbaum Janet & Albert Chevan Sylvia Langford Chinua & Mikiko Thelwell Roland & Elizabeth S. Chilton Joan & Kenneth Langley Pamela Tillis Casey & Dick Clark Tom & Anne Jeanne Lardner John & Peggy Townsend Marjorie L. & Glenn E. Coleman Carol LaRocca Donald E. & Jeanne M. Traester Mary Commager Michelle LeBlanc Lori & Mark Tuominen Jean Conway Bruno, Laurie, Lauren & Steven & Patty Upton Arrelle Cook Benjamin Lenart Elizabeth J. Vastine Steven Coombs Cheryl Lichwell Patricia Vidil Joseph & Karen Corso Robert Littman Patricia H. Virga Richard & Helen Covell Norma Locke Carolyn Webb Marit Cranmer & Efrem Marder Lew & Peg Louraine Nancy Winter in memory of Jerry Sally Curcio Thomas Luck Conrad & Barbara Wogrin Gerald Bruce & Carol Moore Cutting Kathleen R. Lugosch, Architect Michael & Sara Wolff Jerry Dennerline & Lewis & Caden Mainzer Jonathan A. & Meg Kelsey Wright Margaret Sarkissian Meryl Mandell & Stephen Smulski Ruth Yanka Kelly & Charlie DeRose James E. Marquis Erika Zekos Roberta Gere Doering Mary Mattiace James Young Karen Dolmanisth Patricia McGarry Cathy A. Schoen & Larry S. Zacharias Sharon L. Downs Surinder Mehta & Laurie Schad Jane & Howard Ziff John Ebbets & Patty Masure David & Carole Malek Marsha & Bill Zimmer Andrew Effrat Daniel & Ellen Melley Harley Erdman & Sarita Husdon Prem & Mira Menon Friend Taiga Ermansons Charlotte Meyer $50 - $99 Shawn Farley & David Mintz Susan Meyer Anonymous Donors Fritz Farrington & Suzanne Hayden The Meyers Family Varn & Joan Abbott Oriole & Sidney Feshbach Lucia N. Miller Kristen Alvarez Edith Fierst Francis & Nancy Mirkin Clain & Pamela Anderson Chaula Fisher Elaine Mishkind Peggy Anderson & Andrea Wright John J. Fitzgerald Becca & Mark Mitchell Ruth Devine Anthony Raissa K. Fitzgerald Sue & Bill Monks Judith & James Averill Nan Fleming Kathleen Morrissey-Morini John & Sheila Ayres Maurille & Janice Fournier Hal & Ele Mosher Dawn S. & W. Phillips Barlow Janet & Leslie Fraidstern Arthur & Jean A. Mundt Harry & Mary Beall Dr. & Mrs. Robert W. Gage James A. Muspratt & Suzannah Elizabeth Aries & Richard Berman Helen Galloway Fabing Muspratt Justine Bertram Harold Garrett-Goodyear Thomas P. Navin Robert & Carol Biagi Wayne D. & Marilyn T. Gass Dorothy Nemetz & John Todd Jeffrey G. & Karen Boshart Dorothy & Joseph Gavin Catharine & David Newbury Paul Bracciotti & Maria Dye Chester & Lucille Gibbs Rebecca Nordstrom & L. Squire & Carol Bressor Sally & Richard Giglio Jerome Leibling Lee & Will Bridegam Bill & Connie Gillen Susan M. Norris Meredith Broberg Michael & Sandra Gillis Elizabeth F. O’Brien & Bert Fernandez Dean Brown Isabel Glass Jeanne O’Connell Carole Bull Virginia Goldsbury Robert K. & Carol Ostberg Frank Cadran Marcia & Sheldon Goldman Lindsay Palermo Mavis Campbell Penni Golowka Mr. Peter Paniczko Daniel & Susan Carmody Sonja Goodwin Deborah Pease Allan & Barbara Carpenter Robert Gordon Helen S. Perry Jules & Anne H. Chametzky William & Winifred Greco Klaus & Edith Peter Michael Childs & Diane Amsterdam Louise R. Hammann Alexander & Harriet Pollatsek Deene D. & Ann Clark Evelyn K. Hammond-Edmeades Patricia & Donald Polonis Alvin P. Cohen & Dade Singapuri Christine Hannon Earl & Mary Kay Pope Walter & Margery Coombs Randall & Dana Harland Robert & Jeanne Potash Cynthia Consentino Thomas Harrelson Stanley J. Rabinowitz Dennis Conway & Steven Light William Harris Ruth & Harold Rauch Lynda Copeland Josephine M. Hart Meredith B. Raymond Susan Corneille Meg & Allen Hart Nancy & Eric Reeves Stephanie Cramer Joyce & Jeffrey Hatch Lisa Reilly Marilyn Dahl Sarah L. Hawes Ronald A. & Michelle Rice Jill Deans Mary McCarthy & Bob Hawley Alfred & Martha Rios Nancy E. Schroeder & Pat Hayes Steven, Anna & Calder Robbins Julia L. Demmin Royster C. & Kathryn P. Hedgepeth Joan H. Rosenbaum David & Jean Rydberg Dempsey Eric & Yehudit Heller Stanley Rosenberg Ranjanaa Devi & David Watson Marjorie Hess & Rudolph Talaber Margery H. Roy Sally Dillon Irving & Frieda Howards Margaret Sarkissian & Karen Dillon Chip Jackson Jerry Dennerline Joseph L. & Kathleen M. Diveglia John & Miriam Jenkins Roland & Rose A. Sarti Mindy Domb & Matthew Sadof Willard M. Johnson S. Jay Savereid Antonio S. Dores Christina Kamra Gerald L. Schafer Christine Durham Nicole Kamra Nancy E. Schroeder & William Dvorak Alfred Karslon Julia L. Demmin Rita & Oscar Edelman Jeffrey L. Kaufman Elizabeth Schulze Dennis A. Edmonds Barbara Keegan Ann & Stephen W. Schupack Jasmine Eleftherakis Maura & Arthur Keene Anne Scigliano Jan Esselen David Kelly Josh Simpson Jennifer L. Eyikan Diane E. Kelton Melanie Gallo & Stan Smith Julius & Edith Fabos Edmund M. Keyes Mary Sorcinelli Lucy Fagella Ruth Kjaer Robert & DiAnn Speth Sharleene M. Farley Janet Klausner-Wise & Jeremy Wise Mona Sprecker Jim Ellis & Trish Farrington Sheila & Charles Klem Elizabeth & Eric Stahl Barbara Fell-Johnson Lynn & Laura Klock David & Peggy Starr Marc & Laura Feller George & Mary Knightly Brendan Stecchini & Paula Hodecker Jeffrey & Donna Fitzgerald Ellen Kosmer Mary Lou Stuart & Jay Fleitman Richard A. Fleischer Representative Stephen & Calvin & Joanne Swift Aisjah Flynn Suzanne Kulik 44 Marc & Laura Feller Scott Reed Fly by Night Jeffrey & Donna Fitzgerald Katharine E. Reichert, M.D. Hasbro Games Richard A. Fleischer Mia Reilly Hewlett-Packard Company Aisjah Flynn Brett Remillard Juster Pope Frazier, Architects LLP Thomas Foley Bill & Kapie Rice Northampton Dermatology Rachel Folsom Eleanor Richards Associates, PC Timothy & Mary Foster Robert Rocco Pioneer Valley Periodontics Andrea Foulkes Tess Rock The Sloane Club; Tony Murkatt Copper Giloth Tom Roeper & Laura Holland The Recorder Paul Goulson Luisa Rojas-Rimachi Tiger Press Peter & Joann Griswold Terry Rooney United Wealth Management Group Walter A. & Florence Haas Betty & Ronald Rosbottom Wm Baczek Fine Arts Erin Halpin CDR Emory Rounds Wendy & Andrew Hammond D. Ryan Director’s Circle Ira & Patricia Hare Dana & Neal Salisbury $1,000 - $2,499 Randall & Dana Harland Margaret Sanders 1794 Meetinghouse Bill Henry Mitziko Sawada Berkshire International Film Festival Bobbye & Stan Hertzbach Barbara Schafer Bacon Don Muller Gallery Elinor Hoffman Zachary A. Schlappi Eric Carle Studio Michelle Holland Andrew & Lois Siegel Fallon Health Care Patricia G. Holland & Robert F. Winne Elizabeth A. Silver Green Living Judy & Al Hudson Kurt Snyder H.B. Financial Group Amy S. Hughes in memory of Lucia D. Spiro Les Campbell, Sky Meadow Robert M. Hughes Rich & Diana Spurgin Photo Gallery Paul Husby Otto & Diana Stein The Log Cabin Kimberly Hyslip Cindy E. Stein & Mike Kolendo Pioneer Valley Hotel Group Becky Ikehara David & Nina Steinberg Salsarengue Restaurant & Seafood William Irvine Robert Stern & Judith S. Glaser Silverscape Designs Gretchen Jacob Pip & Dick Stromgren Elizabeth Stone Portraits and Fine Art Andrew Jaffe Arthur & Alice Swift University Products Inc. Carol Kaminsky Lynne Thompson William Truswell/ Aesthetic Laser & William & Virginia Kilmer Betty Veres Thurston Cosmetic Surgery Center Pam Korza Nancy & Philip Torrey William A. Berry & Sons, Inc. Virginia & Ralph Kendall Bernice L. Troutman Benefactor Deborah Stier & Anne Kornblatt Dr. Faythe D. Turner $500 - $999 Walter Korzec Andree Uhlig Amherst Laser & Skin Care Center Jack LaForte Kiku Uno Bank of Western Massachusetts Amy T. Layman Joel & Sara Upton Chicopee Savings Bank Suzanne Leblanc Liz & Dave Varner Consigli Construction Co., Inc. Robert & Madeleine Lenz Tina Walker The Colonnade Hotel John D. Leone George & Judy Wardlaw Emirzian, Mariano & Assoc. Peter C. Long Janice & Dan Webster Fierst, Pucci & Kane LLP Clara Ludwig Suewilla Woodfork Hotel Commonwealth Jane Lund Marjorie Wright Goggins Real Estate Mary Mackintosh Susan Zarchin Greenfield Cooperative Bank Nancy Maglione Michele Zimmerman Greenfield Savings Bank Lena & Andre Mallette Fay Zipkowitz & Gordon Fretwell Hannoush Jewelers Annie-Hannah Mancini Institute for Training & Development Lydia Martignetti BUSINESSES Jones-Town & Country Realty Eric & Phyllis Martz Services, Inc. Sharon L. McAfee Chancellor’s Circle $10,000 and above LaPierrre’s Advertising Inc. George & Esterica McGill Lime Rock Park Dorothy & Gerald McFarland Bank of America Coca-Cola Bottling Company Look Memorial Park Leslie McKenna Douglas Macmillan/Jazz Sketches Barbara Melrose The Valley Advocate WRSI 93.9 The River Rigali & Walder Orthodontics Charlotte Meyer The Garden House at Look Park Margaret W. Mighton WFCR 88.5 FM WGBY TV 57 The LIFT Susan Mikula Travel Impressions David P. Miller Leadership Circle United Bank Ingrid Miller $5,000 - $9,999 Valley Transporter Airport Shuttle & Amy Mittelman & Aaron Berman Baystate Medical Practices Transportation Service Charles & Kay Moran Daily Hampshire Gazette WEBS—America’s Yarn Store Gillian Morbey The Davis Group Whalen Insurance David & Betsy Mullins E. Osterman Gas Serv., Inc. Whalen’s Office Furniture Cynthia Naughton Fathers & Sons, Inc. Harriet Naughton Finck & Perras Insurance Sustainer Carl G. Neal The Hotel Northampton $250 - $499 Derek Noble Hampshire Hospitality Group Amherst-Oakham Auto Recycling Inc. Kimberly J. O’Donnell-Lipkin La Prensa/LinkLatinos.com Artisan Gallery Ali Osborn Lathrop Retirement Communities Black Sheep Deli & Bakery Linda Overing & John Ryan Northampton Cooperative Bank Black Walnut Inn Gerald L. Paist PeoplesBank Bose Corporation Ms. Dulce Pedro Pioneer Valley Travel Bulkley, Richardson & Gelinas, LLP Marianne Pedulla Prudential Sawicki Real Estate Chandler’s Naomi & Micha Peleg Rainbow Times Danish Inspirations at Danco Modern Michael Penn Silverscape Designs Four Seasons Wine & Liquor Steven & Wendy Peppas TD Banknorth Hampshire Regional YMCA Lilly Pereira WEIB 106.3 Smooth FM Japanalia Stephen Petegorsky Jimmy Burgoff & Mark Ricker Pamela & Ray Pfeiffer Presenter’s Circle Jazz Duo Terri Pierrepont $2,500 - $4,999 Lee Hines Business Alliance Services Michele Phelan Cooley Dickinson Hospital Mini Fenway Park William & Marietta Pritchard Dell, Inc. New England Promotional Marketing Steven & Linda Prothers Easthampton Savings Bank Orchards Golf Club Joan & Monroe Rabin El Sol Latino Omni Parker House Thomas E. Radlo FamilyFun Magazine One Day University James & Janice Ratner Florence Savings Bank O’Reilly, Talbot & Okun
45 Omni Parker House New England Foundation for the Arts Vidda Foundation One Day University New England Revolution Women’s Fund of O’Reilly, Talbot & Okun Charitable Fdn. Western Massachusetts Associates, Inc. Non-Profit Finance Fund Pioneer Valley Symphony & Chorus Pro Helvetia Foundation MATCHING GIFTS Pivot Media Springfield Symphony Chorus Aetna Foundation, Inc. Portabella Catering Springfield Symphony Orchestra Fleet Foundation Group Stonehedge Inn & Spa Student Affairs Cultural General Electric Fund Enrichment Fund Lucent Technologies Foundation Patron Swiss Consulate of New York Massachusetts Mutual $100 - $249 TD Banknorth Charitable Foundation Life Insurance Co. 20th Century Illuminations Theater Communications Group Metropolitan Life Insurance Company A2Z Science and Learning Store Thomas Johnson Foundation Price Waterhouse Coopers Allen House Victorian Inn University of Massachusetts Amherst Sovereign Bank Amherst Cinema Arts Center Alumni Association Amelia Park Children’s Museum University Women Angelo’s Golden Harvest Anita Eliason Designs Bayside Resort IN MEMORY OF MARK BASZAK Berkshire East Ski Area Marylouise Almeida Pamela Juengling Cape Codder Resort & Spa Elizabeth Atkins Mary Mackintosh Cathy Cross Antoni & Florence Baszak Lydia Martignetti Changes Salon Roger Caouette Kenneth Martin Collette Vacations Marjorie Cavanaugh Mark G. Auerbach Public Relations Crump ‘n Fox Golf Club Lucy Colwell Lena & Andre Mallette Daniel Trenner/Northampton Tango Dennis Conway & Stephen Light Lucia N. Miller Elements Hot Tub Spa Steven Coombs Steven, Anna & Calder Robbins Eric Carle Museum of Don & Honore David D. Ryan Picture Book Art Mindy Domb & Matthew Sadof Kathy Saucier Fitness Together Joyce Dupree Karen Sellers Gazebo Intimate Apparel Shawn Farley & David Mintz Stephen & Julianne Smist Green Street Cafe Salvatore Graziano Eleanor Stepanik Hadley Garden Center William & Winifred Greco Jay Stryker Hazen Paper Company Jean Hamel Frederick C. & E. Louise Tillis Imani, Ltd./Shara Denson Beverly & Willie L. Hill Jr. Pamela Tillis Jacob’s Pillow Dance Festival Susan Huetteman Lori & Mark Tuominen Judie’s Restaurant Andrew Jaffe Janice & Dan Webster Kripalu Center for Yoga & Health Liquors 44 Marjidoll Patron Services For Hearing-Impaired Patrons Meditation for Relaxation Assisted listening devices: Induction loops Modern Memoirs Private Refreshments and headsets are available for patrons with Publishing, Inc. Concessions are available before the perfor- hearing impairments and may be checked North Amherst Motors Collision mance and during intermission for most Center out with an ID in the lobby prior to the perfor- Repair Center Series Concert Hall events. For patrons in our mance. Compatible with most ALS systems Northampton Youth & wheelchair section, please notify an usher and and in compliance with the ADA. A credit card, Community Rowing they will be happy to bring the refreshments driver’s license, or valid student ID will be Greater Northampton Chamber of to you. held as security while devices are in use.
Commerce Emergency Closing Restrooms Planet Beach In case of emergency, the lighted, red, exit Restrooms are located on the lower level of The Porches Inn sign near your seat is the shortest route to the Fine Arts Center Concert Hall adjacent to Salon 241 the exterior of the building. For your safety, the University Gallery and in the Concert Hall Seaport Hotel please check the location of the exit closest main lobby. When available there are additional Spirit Haus to your seat and review the evacuation map restrooms in the Rand Theater area. Fully ac- Swiss Consulate of New York included in this playbill. Also, follow the cessible restrooms are available in the Concert Michele Topor Inc. directions provided by the ushers. The House on the Hill Hall and Bowker Auditorium. Restrooms in The Yoga Center the Concert Hall for the mobility impaired are Accessible Parking located in the lobby and the refuge area outside An access-parking permit or plates must be FOUNDATIONS & ORGANIZATIONS section 3 on house right. American Friends Service Community visible to parking attendants. American Guild of Organists Drinking Fountains For Your Viewing Pleasure Toledo Chapter Drinking fountains are located on the lower level The Andy Warhol Foundation for the Check out what’s on view in the University of the Concert Hall near the restrooms and in Gallery. The University Gallery is located on Visual Arts, Inc. the lobby. Bank of America Foundation the lower level of the Concert Hall and is open British Council Late Seating one hour prior to the start of performances and during intermission. The Gallery is also Chamber Music America Patrons arriving after the start of the perfor- open to the public Tuesday through Friday, Community Foundation of mance will be seated at an appropriate break. Western Massachusetts 11am to 4:30pm, and Saturday and Sunday, 2 to 5pm. Cricket Island Foundation Pagers and Cell Phones Five Colleges, Inc. Please turn off all pagers and cell phones when Performance Cancellation Five College Center for entering the seating area. Fine Arts Center performances are rarely can- East Asian Studies celed and only in the case of severe weather. Five College Dance Department On Call Service If a performance is canceled, you can call the The Ford Foundation Doctors and persons needing emergency call Box Office at 1-800-999-UMAS or 545-2511 Massachusetts Cultural Council service are asked to leave their name and seat or tune in to the following radio and television Massachusetts Foundation for the location with the box office. If you keep a pager stations: public radio station WFCR 88.5FM, Humanities with you, please use the silent, vibration option. WRNX 100.9FM/WPNI 1430AM, WHMP Mondriaan Foundation 99.9FM, WMUA, WRSI 95.3FM, WHYN, Henry Moore Foundation Cameras and Recording Devices WMAS, WWLP-TV22 and WGGB-TV40. The Nathan Cummings The taking of photographs or recording the If a performance is canceled, patrons may Foundation, Inc. performance in any way is strictly prohibited. exchange tickets for another event (subject National Endowment for the Arts to availability), may receive a credit on their National Performance Network account, or may request a refund. Nestle Pour L’Art Foundation Please recycle your playbill in the lobby.
46 47 48 49 .
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