CONTENTS

4 Message from Mayor C. Ray Nagin 26 Choreographing a Comeback The New Orleans Ballet Association 7 Debut of an Icon A performing arts theater rooted in modern 28 A Home at Last style opened in 1973. The Louisiana Philharmonic Orchestra 11 The Return 30 Not Just the Classics Following a monumental flood, the road Gospel, jazz, blues and more in the theater back was anything but smooth. 32 The Opening Productions 14 Theater at a Glance Details of performances presented by Features of the renovation • The Louisiana Philharmonic Orchestra • The New Orleans Ballet Association 16 Honoring a World-Class Performer • The New Orleans Opera Association The spiritual purity and power of Mahalia Jackson 20 A Stage Named Domingo An enduring tribute to the world’s greatest tenor 22 A Grand Re-opening Schedule of Performances and Events

24 The Return of Grand Opera ON THE COVER: The theater during The New Orleans Opera Association an evening event in March 1980.

PHOTOGRAPHED BY: Mitchel Osborne

2 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Message from Mayor C. Ray Nagin

January 2009

Dear Fellow Arts Patrons:

The events of late August 2005 presented unprecedented challenges to the City of New Orleans. We have worked diligently to rebuild our city from the greatest natural and manmade disaster any city has ever faced. As we have struggled to repair and rebuild damaged portions of our city, we never doubted the importance of restoring our performing arts capabilities as well. Maintaining local venues that can host music, dance and theater, in all their various forms, is vital to the preservation of our creative culture and our performing arts legacy. New Orleans is rich in performance talent, and some of our largest performance facilities suffered great damage from Hurricane Katrina and the flooding that followed. We are working to restore these vital components of our city, and we have made an outstanding start by reopening The Mahalia Jackson Theatre for the Performing Arts. This theater and the surrounding, historic Armstrong Park hold great significance for many of our citizens. Some of the most memorable events and performances of modern history have occurred here. The theater has hosted locally and nationally renowned performers, including major jazz, blues and modern dance celebrities, and it has provided a home for vitally important classical performance organizations such as the New Orleans Opera and New Orleans Ballet. In restoring this theater, we have also improved upon its structure so that it offers state-of-the-art capabilities for a wide range of performing arts. Once again, it will become a home base for the opera, the ballet, the Louisiana Philharmonic Orchestra and the New Orleans Jazz Orchestra, along with other performance groups who soon will discover the technical beauties of the restored facility. We welcome the renewal and return of this beautiful performing arts theater, and once again we pay tribute to Mahalia Jackson, a great lady who, both as an individual and a performer, represented New Orleans beautifully to the rest of the world.

Sincerely,

C. Ray Nagin Mayor

4 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Coming Home The performing arts return to Mahalia Jackson Theatre

Produced in association with OnStage.

A Publication of Renaissance Publishing, LLC

JANUARY 2009

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JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 5 The Debut The curtain first rose in 1973

pproving smiles and delighted chatter abounded on that night A36 years ago when citizens of New Orleans first got a close look at their new performing arts theater. It was Jan. 9, 1973. Mayor Moon Landrieu was out of town at the time, but a cadre of city officials attended the grand opening of the New Orleans Theatre for the Performing Arts in his stead. His predecessor, Vic Schiro, during whose administration the plan for the theater was hatched, was on hand, as were Muriel Bultman Francis and T.G. Solomon, both of whom helped pave the way for the theater to be built.

MITCHEL OSBORNE PHOTOGRAPHS JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 7 Aerial view of Armstrong Park, September 1981

Mayor Dutch Conductor Werner Torkanowsky that night led what was Morial with then the New Orleans Philharmonic-Symphony Orchestra in Mrs. Louis Armstrong a performance of Verdi’s “Requiem Mass.” The program and Lionel featured vocal performances by New Orleans native and Hampton in famed New York City Opera bass Norman Treigle, along April, 1980 with soprano Johanna Meier, mezzo-soprano Beverly Wolff and tenor Nicholas di Virgilio. From the time the guests glimpsed the sparkling $30,000 chandelier in the lobby to the moment the final applause ended, the evening was a grand success, according to newspaper accounts of the event. New Orleans finally had a sophisticated, professional performing arts theater.

Count Basie performs for the opening ceremonies of Armstrong Park, April 1980.

8 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 The building’s spectacle. A three-story architect, William E. wall of glass across the Bergman, and project front allowed for a engineer Charles H. view of the entire Nettles both attended red-and-tan lobby the opening. They were and its magnificent no doubt proud — and Venetian chandelier relieved. Like most from outside the projects of substantial building. The red- size and scope, the carpeted staircases theater did not come to provided a fitting fruition without bumps backdrop for well- along the way. heeled patrons to see Originally designed to and be seen. Inside the seat 3,500 guests, the performance hall, not building plan had to be one of the 2,316 seats scaled down when the had a bad view of lowest bids came in at the stage. almost twice the amount After years of that had been earmarked discussion, planning for construction. The and, finally, construc- cost ultimately totaled tion, New Orleans around $8 million. had a theater that But the architects and could properly contractor delivered on welcome a wide range their promise of a theater of local, national that would present a Intermission during and international a July 1979 event magical nighttime performing artists. The theater served its Lionel Hampton and purpose until Aug. 29, 2005, when Mayor Dutch Morial a disaster no one could have teamed up on stage, 1980. foreseen befell the city. Hurricane Katrina and the subsequent flood produced by the failure of local floodwalls devastated the Mahalia Jackson Theatre for the Performing Arts. The theater suffered extensive wind and water damage, and its electrical and mechanical systems were destroyed by more than 10 feet of water that remained for weeks on its lowest level. The road back from the tragedy has been a slow one. But more than three years after Katrina, patrons and advocates of the arts in New Orleans finally have reason to celebrate. Visitors can at last stroll across Armstrong Park and up the steps of the Mahalia Jackson Theatre, and find the doors open and the lobby spectacularly lit, as the city’s singular theater for the performing arts comes to life once again. •

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 9 TheReturnofanIcon A building’s revival opens doors to new opportunities

ark days descended on the They rounded up their scattered performing arts could play in the city’s New Orleans performing arts performers. They hatched contingency recovery. As city administrators grappled Dcommunity in the weeks after plans that allowed them to begin with the cumbersome and frustrating August 29, 2005. As with many other performing again. Local audiences process of qualifying public buildings for aspects of local life during that time, it were thrilled. federal and state recovery assistance, they wasn’t merely difficult to discern light at The quick, though limited, return of kept performing arts venues high on the the end of the tunnel, it was hard to even these performances proved a balm for list of targets. As recovery dollars finally find the tunnel. the city’s anxiety-ridden populace. In the began to flow toward major public With most of the major performing midst of one of the darkest periods in buildings, the return of the Mahalia arts stages seriously damaged and New Orleans’ history, the opportunity to Jackson Theatre for the Performing Arts closed indefinitely, the very future of see and hear live performances up close began to appear feasible. the local arts seemed in danger. helped remind local audiences that the “One problem was that some work Performers had fled the city and city’s most important assets were alive. was going on in the theater before scattered. Corporate benefactors Hurricane Katrina, so FEMA initially said suddenly had more pressing problems high priority they weren’t going to pay for damage to address. Arts organizations worried Fortunately, local government also from the flood,” says the city’s deputy about their prospects for survival. recognized the vital role that the chief administrator, Cynthia Sylvain-Lear. But the hard times “We understood their rules, evoked an unexpected but we had to make them response. Instead of understand that we weren’t throwing up their hands renovating the entire theater and turning away, before Katrina,” she says. members and friends of The city had to detail for local performing arts FEMA all renovations that organizations looked were in progress before the inward. They knew that flood — for which the city fixing what was wrong would retain responsibility could take a long time, — and then specify every but they also realized, step of repair and restoration instinctively, that if the that would be needed as a performing arts were to result of the flood. survive in New Orleans “We laid out the

Photos courtesy of City New Orleans for the long term, they renovations that were in needed to re-start as fast progress previously and as possible. identified the new work that All of the organiza- we’d have to do, and said tions, from the let’s move on from there,” symphony, opera and Sylvain-Lear says. “We knew ballet to the New Orleans this is an important project, Jazz Orchestra, local and there’s no point in doing church choirs and gospel it halfway.” groups, scrambled to get back on their feet, technical excellence post-Katrina. With help Indeed, says Bill Chrisman, from a plethora of director of capital projects volunteers, organizations administration, the city did and institutions, they not settle for halfway. found substitute stages “We weren’t trying to and performance halls. restore the theater to what

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 11 it was pre-Katrina. We wanted to make it distinctive features, the huge Murano expanding opportunities better, to make it into a modern Glass chandelier, which was custom Overall, says Chrisman, the work of performance theater,” Chrisman says. fabricated for the original theater, has bringing back the Mahalia Jackson As part of the upgrade, he adds, been cleaned and re-lamped to return it Theatre was about opening doors to new “We’ve installed a very expensive to its show-stopping glory. opportunities. “It gives us more flexibility and elaborate stage.” Chrisman notes that having an to bring in performances that we could Technically, the theater today is state- electrical contractor, Frischhertz Electric not do had we just gone back and put in of-the-art, Chrisman says. The stage itself Co., serving as the general contractor exactly what was there before.” is larger, with much roomier “wing” was a plus for the restoration. “It’s the He predicts that when people step into space and improved mechanical lift capa- electrical and special systems that really the dressed-up building, “They’re going bilities. Renovations included a total make the theater, so it’s good that we to be amazed. If they’re expecting to see revamp and upgrade of the lighting grid, have somebody who’s really attuned to it the way it was before, that’s not what the sound system and the theater’s all that,” he says. they’re going to see; they’re going to see a acoustics, creating a virtually new space completely modern theater.” that now can accommodate Along with the interior more elaborate and revamp, visitors will notice spectacular productions that improvements are taking than ever before. shape outside the theater as Performers will have well. In order to draw spacious, convenient audiences to the site, city dressing rooms, and officials recognized the need audiences will enjoy for fundamental exterior work, renovated lobbies and such as cleaning the lagoon in concession areas that make the park, relighting the intermissions more entryway, repaving parking appealing. One of the lots, pouring new sidewalks theater entrance’s most and laying new flagstone steps

12 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 to the theater. project, though the city’s projected total target list, Sylvain-Lear says. But the “We’ve also re-laid all the pavers along cost, including improvements to the vastly improved acoustics and sound North Rampart Street, cleaned and immediate surrounding area, was $28 system in the theater also equip it for repainted all the signage, and re-lamped million. City officials say they remain showing first-run movies and presenting all the lights in the park and the historic committed to restoring all the major a variety of live concerts and gospel light fixtures along the neutral ground,” damaged public buildings. shows. “Because of the way it’s laid out, Chrisman says. The city also has engaged the services you could actually have weddings there,” Not surprisingly, the scope of the work of a professional management firm for she adds. seemed to expand with each step the the theater. Arts Centers Enterprises Inc., “The return of this theater gives the contractors took. They found after they of San Antonio, Tex., recently assumed city a larger opportunity for so much started working at the site that the management of the facility and will help more,” she says. “We’re very excited Katrina flood had collapsed underground ensure that it gets plenty of use for a about the possibilities.” drainage lines leading away from the range of activities. Chrisman says the potential doesn’t theater. Workers had to dig up sidewalks Broadway shows are high on the city’s stop at the door. He sees opportunity in and streets to replace the Armstrong Park for multi-venue lines. They also had to concerts, somewhat like a mini create a new entry point for Jazz Festival, with the Mahalia electrical systems into the Jackson Theatre providing the building, as the old service anchor stage for the concerts. lines had been destroyed. Noting that a more extensive Sylvain-Lear says the city renovation and upgrade of the continues to work with park will likely occur down the FEMA “to obligate more road, Chrisman says: “This is money into the project.” As more than just a renovation of of late November, the the Mahalia Jackson Theatre. federal agency had It’s the rebirth of Armstrong committed $8 million to Park as well.” • the Mahalia Jackson Theatre

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 13 Major features of the renewed Mahalia Jackson Theatre

New drapes and rigging: ! Theatrical stage drapes and main curtain replaced. ! Automated motorized rigging control system.

New lighting system: ! Automated theatrical lighting control system includes new lighting instruments, dimmers and spotlights.

New lift systems: ! Modern theatrical stage lift system with six on-stage lifting sections and four orchestra pit lifting sections.

New sound system: New projection system: ! Concert-grade house sound system Digital cinema projection system. with digital signal processing and ! mixing system. New communication systems: Cleaned, restored and LED- Wireless and wired production upgraded Venetian glass chandelier New orchestra shell and dance ! intercom and back-of-house intercom in lobby. floor: systems. State-of-the-art acoustical shell to ! New sidewalks and restoration enhance sound quality. New seating to accommodate of flood-damaged lagoons in ! Removable floor for dance perform- a maximum of 2,355 guests. Armstrong Park. ances. (Supported through a grant from the New carpeting of floors and Enhanced lighting and security Andrew W. Mellon Foundation) staircases. for parking. •

14 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 a Baptist preacher, barber and long- shoreman. Her extended family included entertainers and musicians. Five years old when her mother died, Mahalia and her brother were taken in by several aunts who brought the children to live with their half-brothers and sisters in a tiny house in the Black Pearl section of the Carrollton neighborhood. The city at the time was rich with the sounds not only of sacred hymns, but also the music of Mardi Gras, dance tunes from the bars of Storyville, and the sounds of jazz being played by young Louis Armstrong, King Oliver and Jelly Roll Morton. In a 1974 biography of Mahalia, New Orleanian and author Laurraine Goreau wrote of the intensely religious atmosphere in which Mahalia grew up. The little girl began singing in the Mount Moriah Baptist Church choir at age 4. At home, her strict, no-nonsense aunts ruled a Godly household that prized integrity and obedience and shunned the sounds of blues, jazz and dance music. Mahalia absorbed the religious messages of both Baptists and Catholics, and she made a lasting spiritual commitment. Although she had once hoped to become a nurse, her true calling became evident as she grew increasingly devoted to gospel music, which she elevated to new inspirational heights by deftly wielding her astoundingly powerful voice. In the late 1920s, the young Mahalia moved to Chicago, where she pursued her musical career in earnest. By the time of her death PureInSpirit,RichinGrace: from heart failure at age 60, she was widely regarded as the greatest gospel singer in the world. Her career had Mahalia Jackson included television, radio and live concerts in which she remained steadfastly committed to a gospel- ong before she became one of and social traditions characteristic only repertoire. the world’s most revered of that time and place. She performed before five U.S. L spiritual singers, Mahalia Mahalia’s grandparents had been presidents, England’s Queen Jackson was, simply, a child of New born into slavery and worked on Elizabeth II and Sir Winston Orleans. Born in the city on Oct. 26, Louisiana plantations. Her mother, Churchill, and numerous interna- 1911, her early life was deeply Charity Clark, was a laundress and tional political figures and heads of entwined with the religious, cultural maid; her father, Johnny Jackson, was state. Her performances rendered

16 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 The World in Her Hands It is possible that Mahalia Jackson, a lifelong devotee of gospel music, would have raised her eyebrows at the idea of her name being associated with rock and roll music. Nonetheless, 25 years after the singer’s death, her recordings and history became a permanent fixture in the Rock and Roll Hall of Fame and Museum in Cleveland. Mahalia Jackson was inducted into the museum in 1997. Today, a special exhibit there focuses on the gospel tradition and its influence on early rhythm and blues, soul, and rock and roll music. The exhibit features Mahalia, along with Sister Rosetta Tharpe, the Soul Stirrers, the Staple Singers and the Ward Family. Interestingly, Aretha Franklin, another icon of the museum and the undisputed queen of soul music, drew heavily from the performance styles of early gospel singers and has acknowl- edged the powerful influence of Mahalia Jackson. The following are excerpts from the Rock and Roll Hall of Fame and Museum’s tribute to Mahalia Jackson.

Mahalia Jackson reigned as a pioneer interpreter of gospel music whose fervent contralto was one of the great voices of this century. Both gospel and rhythm and blues had their roots in the Sanctified church, but hugely popular such songs from her whereas blues and R&B departed on secular paths that Baptist beginnings as “Amazing led to rock and roll, gospel stayed the spiritual course. Grace” and “The Day is Past and Nonetheless, the influence of gospel on R&B and rock Gone.” Her recordings were among and roll, especially through such force-of-nature voices the most sought-after of the genre. as Jackson’s, is inescapable. Little Richard has cited In January 1972, Mahalia Jackson Jackson as an inspiration, calling her “the true queen of came home to New Orleans, where spiritual singers.” her body lay in state at the Municipal Religious passion was paramount in Jackson’s life, Auditorium under the watch of an and no sacred-to-secular transformation would mark her interracial military honor guard. Her career as it did so many others. “Her voice is a funeral service was said to be one of heartfelt expression of all that is most human about us the most elaborate ever afforded a — our fears, our faith, our hope for salvation,” David private citizen in New Orleans. Ritz wrote in his liner notes for “Mahalia Jackson: 16 Twenty-one years later, at the Most Requested Songs.” urging of the New Orleans City “Hope is the hallmark of Mahalia Jackson and the Council, the New Orleans Theatre for gospel tradition she embodies,” Ritz wrote. the Performing Arts, which was Singing in a grainy, full-throated soprano that under construction at the time of Mahalia’s death, was renamed to employed slurs and blue notes, Jackson brought a honor one of the finest gospel singers heightened drama and syncopated bounce to her who ever lived. Today, New Orleans readings of such gospel classics as “Move On Up a again pays tribute to the great lady Little Higher,” “He’s Got the Whole World in His and welcomes the return of the Hands” (a Top 100 pop single) and “How I Got Over.” Mahalia Jackson Theatre for the She sang for Presidents Eisenhower and Kennedy, Performing Arts. • performing at the latter’s inaugural. A favorite of Dr. Martin Luther King Jr., Jackson sang at his request immediately before his “I Have a Dream” speech at the March on Washington in August 1963. Jackson recorded for Columbia from 1954 until 1967.

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 17 Highlights of aGospel Career finding a wide the steps of the 1972: Mahalia Jackson popularizes one of audience among both Lincoln Memorial in wins the Lifetime Thomas Dorsey’s black and white Washington, D.C. (She Achievement Grammy. greatest composi- listeners. later would sing at Dr. tions, “There Will Be King’s funeral.) May 6, 1997: Mahalia Peace In the Valley.” April 28, 1958: Jackson is inducted Mahalia Jackson’s into the Rock and Roll 1946: Mahalia recording of “He’s Got Hall of Fame at the Jackson signs with the Whole World in 12th annual induction Apollo Records, His Hands” enters dinner. Mavis Staples where she records Billboard’s Top 100 is her presenter. some of her best- singles chart—an loved gospel unlikely feat for a slides over the gospel song. It peaks 1935: Mahalia Jackson next eight years. at No. 69. 1963: Mahalia Jackson lands her first releases “Bless This recording contract August 28, 1963: A House”. after she’s heard crowd of 200,000 July 15, 1998: Mahalia singing at a funeral. hears Mahalia January 27, 1972: Jackson is honored Jackson’s moving Mahalia Jackson dies with a stamp issued 1935: Mahalia Jackson rendition of the inspi- of heart failure in by the U.S. Postal begins a 10-year stint rational “I Been Evergreen Park, Ill. Service. as Thomas Dorsey’s ‘Buked and I Been She is buried at vocalist and chief 1954: Mahalia Jackson Scorned,” which Providence Memorial (Timeline courtesy of collaborator. moves to Columbia precedes Martin Park in Metairie, La. Rock and Roll Hall of Records, where she Luther King’s “I Have Fame and Museum) 1939: Mahalia Jackson remains until 1967, a Dream” speech on

18 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 A Stage Named DOMINGO New Orleans shows its gratitude to the world’s greatest tenor

t a time when the arts organizations in New Orleans were worried about rebounding from the devastation Acaused by Hurricane Katrina, opera star Plácido Domingo gave the city the gift of hope. Domingo performed at a gala benefit concert, “A Night for New Orleans,” which raised $700,000 for the recovery effort and touched the hearts of those who attended. Also lending their substantial talents to the concert were mezzo-soprano Denyce Graves, tenor and Louisiana native Paul Groves and baritone Nathan Gunn, as well as the New Orleans Opera Chorus and the Louisiana Philharmonic Orchestra. “We had a landmark event,” says Robert Lyall, general artistic director for the New Orleans Opera Association.

20 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Lyall says Domingo came to the city and, more importantly, to thank him for career in New Orleans in 1962, when he during a dark chapter in its history, a the special gift of hope he gave our city came here from Mexico. He starred in time when those who loved the visual after Hurricane Katrina,” Clarkson says. nine performances with the New Orleans and performing arts were trying Opera from 1962 through 1971, to keep the flames alive. “It “I am both touched and proud that New several times singing a role for the helped with the rebirth of our first time in his career. Today, the Orleans Opera and the City Council of New city and our arts organizations,” 67-year-old singer’s repertoire Orleans have chosen to name the theater’s new Lyall says. Like many who were includes 126 roles. stage after me. I first sang in your beautiful city there, he still finds the event Naming a stage or a section of a in 1962, near the very beginning of my career, moving to talk about. concert hall for a living person is Now, the city is returning the “and I later sang Manrico in Il Trovatore and the not a common event, Lyall says. It favor, dedicating the newly title role in Andrea Chénier there for the first is usually associated with major named Plácido Domingo Stage at time in my life. Those were important opportu- donors, who receive the honor in the renovated Mahalia Jackson nities for me -- I am forever grateful to New recognition of the large sums of Theatre for the Performing Arts. Orleans for giving me those breaks when I was money they give. Domingo, whom Lyall calls so young -- and this is why I was especially Lyall calls the contribution “without a doubt the greatest happy to participate in the benefit performance Domingo made to New Orleans celebrity in the classical arts in 2006. And now I again owe my thanks to substantial, both in terms of the today,” agreed to sing, conduct New Orleans for the great honor that you are money the gala raised for the arts and speak during a January giving me nearly half a century after our first and because of the boost it gave to 2009 reopening gala. encounter. Long live New Orleans, and long live public morale. New Orleans City Council New Orleans Opera!” The tenor has been recognized President Jackie Clarkson before for his charitable generosity. authored the ordinance to permit PLÁCIDO DOMINGO He has raised money to combat the dedication of the stage. “It AIDS and to rebuild Mexico City became a mission for me to see that the The ordinance passed unanimously. after the 1985 earthquake. • stage was named for Plácido Domingo, Domingo’s ties” to New Orleans are first to honor his truly masterful talent strong, Lyall says. The tenor began his – By Judi Russell

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 21 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS Grand Opening Celebration JANUARY 8–17, 2009 Sponsored by Betty Brooks Doss

THURSDAY, JAN. 8, 7 P.M. ! The New Orleans Ballet Association presents “The New Orleans All Star Review” Wendy Whelan and Albert Evans, New York City Ballet Featuring a diverse offering of quintessential New soloists, performing “Liturgy,” by Christopher Orleans performers: The Preservation Hall Jazz Band, Wheeldon, with Louisiana Philharmonic Orchestra The Rebirth Brass Band, Kermit Ruffins, Irma Thomas, playing music by Arvo Pärt. Marva Wright, Jeremy Davenport, Ingrid Lucia, Phillip ! Dancers from the San Francisco Ballet perform Manuel, Michael Ward and Freddy Omar. “Double Evil,” by choreographer Jorma Elo, with Louisiana Philharmonic Orchestra playing “Concerto Fantasy for Two Timpanists and Orchestra” by Philip SATURDAY, JAN. 10, 7 P.M. Glass and “Come In!” by Vladimir Martinov. “An Evening of Music and Dance” Presented by the Louisiana Philharmonic Orchestra and the New Orleans Ballet Association. SUNDAY, JAN. 11, NOON ! Louisiana Philharmonic Orchestra Music Director “Family Day in the Park” Carlos Miguel Prieto conducts renowned violinist Itzhak Exhibits by visual and performing artists presented Perlman and the orchestra in Bruch’s “Violin Concerto by YA/YA (Young Aspirations/Young Artists Inc.) in G Minor,”; Shostakovich’s “Festive Overture”; and KidsmART, Ashe Cultural Arts Center, Congo Square Strauss’ “Suite from der Rosenkavalier.” Drumming Circles and more.

Plácido Domingo Allen Toussaint Itzhak Perlman

22 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 AT 2 P.M. FRIDAY, JAN. 16, 7:30 P.M. “Family Day in the Theatre” “An Evening with Irvin Mayfield and Featuring presentations by NORD/NOBA (New Yolanda Adams” Orleans Recreation Department and New Orleans Featuring gospel superstar Yolanda Adams, a New Ballet Association) Center for Dance, the NORD Orleans All-Star Gospel Choir led by music director Crescent City Lights Youth Theatre, and the Greater Clarke Knighten, and the New Orleans Jazz Orchestra, New Orleans Youth Orchestra. featuring orchestra founder and trumpet virtuoso Irvin Mayfield.

TUESDAY, JAN. 13, 6:30 P.M. “Beethoven and the Blues” SATURDAY, JAN. 17, 6:30 P.M. The Louisiana Philharmonic Orchestra presents “A Glorious Gala Concert featuring Beethoven’s “Symphony No. 5” and a special Placido Domingo” performance by famed composer and pianist A musical feast hosted by opera association Artistic Allen Toussaint. Director Robert Lyall and Academy Award-nominated actress Patricia Clarkson. The world’s leading tenor appears for a gala concert and dedication of The THURSDAY, JAN. 15, 10 A.M. Plácido Domingo Stage, joined by opera stars “Louisiana Philharmonic Special School Lawrence Brownlee, Sarah Jane McMahon, Kristine Performance” Jepson, Sondra Radvanovsky, Mark Rucker, with The Louisiana Philharmonic Orchestra presents music provided by the Louisiana Philharmonic "Beethoven Lost His Notes," a Young People's Orchestra and the New Orleans Opera Chorus. • education concert for school groups grades 2-5. Led by Resident Conductor Rebecca Miller, with Andrew Larimer, founder of the NOLA Project, playing the part of Beethoven. AUL KOLNIK PHOTOGRAPH P

OLIVIER PHOTOGRAPH, COURTESY ROUNDER RECORDS RICK OLIVIER PHOTOGRAPH, COURTESY Irma Thomas Wendy Whelan and Albert Evans

Complete details of opening-week performances by the opera, ballet and philharmonic orchestra begin on page 32. Kermit Ruffins

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 23 “Merry Widow” performed by the New Orleans Opera. BEVIL KNAPP PHOTOGRAPH

The Return of New stage enables Grand Opera full-scale productions

he New Orleans Opera Opera Chorus and the Louisiana kick-start the rebirth of the city’s Association, beloved for its Philharmonic Orchestra. Domingo arts organizations. Tgrand arias and larger-than-life sang at a 2006 concert in the New After the hurricane rendered the singers, will have the home it deserves Orleans Arena after Hurricane Katrina, local opera homeless, Tulane in the newly renovated Mahalia an event Lyall credits with helping to University offered the use of its Jackson Theatre for the Performing Arts. The theater’s improvements, which include a more complete lighting system, a better acoustical shell and upgraded under-stage equipment, give the New Orleans Opera “a much more satisfying working experience,” says Artistic Director Robert Lyall. Opera returns to the theater at a gala concert on Jan. 17, featuring world-renowned tenor Placido Domingo and hosted by Lyall and “Merry Widow” Oscar nominee Patricia Clarkson. performed by the New Orleans Opera. Joining in will be the New Orleans BEVIL KNAPP PHOTOGRAPH

24 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 McAlister Auditorium. “We are The French Opera House, designed by all very happy Tulane let us James Gallier Jr., perform anywhere,” says Ted opened in 1859 at the Martin, the opera association’s corner of Bourbon executive vice president. The and Toulouse streets. A fire destroyed the association will recognize building in 1919. Tulane’s contribution with a tribute to university president Dr. Scott Cowen. But adjusting to a smaller, temporary home wasn’t easy. “We have had to design and build all our productions for three-and-a-half years,” Lyall says. McAlister, a concert hall, lacks the wing space, full-size stage and other amenities grand operas require. Tents outside had to serve as dressing rooms, and at times the opera had to vie for parking space with other campus events. Putting on a full-scale opera calls for arts organizations thriving, says nearby and kept their ties via matinee large crews that include wardrobe and Salvatore Panzeca, president of the performances. makeup artists, and sound and New Orleans Opera Association. A lifelong opera buff, Panzeca says he lighting technicians. McAlister Opera has been a part of New has seen a steady improvement of the Auditorium didn’t have enough Orleans since the days of the New Orleans Opera, and he credits that space for these groups to get old French Opera House, he to a dedicated board led by a dynamic together. “It’s been a great says. “When [people in other artistic director. “The people of the New challenge,” Lyall says. states] were shooting Indians, Orleans arts scene are extremely lucky One feature that the opera we were doing French to have a person like Robert Lyall,” he added in the last few years opera,” he says. says. “The man is a genius.” will continue after the After the Opera Lyall says the reopening of the return to its theater; House was Mahalia Jackson Theatre has created a that is, the Sunday destroyed by fire buzz in the opera community. “People matinee. Lyall says in 1919, traveling are looking forward to returning, often the Sunday matinees companies and to their same seats,” he says.• turned out to be small local great regional draws companies kept – By Judi Russell and are especially opera alive. The attractive to older current association was music-lovers who started in the 1940s. 2009 performances of the prefer not to drive at Panzeca says New Orleans Opera Association night. The matinees enthusiasm for the scheduled at the worked well for north New Orleans Opera has Mahalia Jackson Theatre: shore residents, and remained strong also drew people despite the January 17 from Lafayette, Baton displacement The Opera presents Placido Domingo, hosted by Robert Lyall Rouge and the Gulf of many and Patricia Clarkson. Coast, many of whom opera-goers after Hurricane

GREG MILES PHOTOGRAPH made attending March 20-22 the opera a Katrina. Locals have Bizet’s “Carmen” weekend vacation. kept up their It is essential for Robert Lyall attendance and financial support, and many April 17, 19 a city like New Verdi’s “La Traviata” Orleans to keep its people who fled after the flood relocated in areas

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 25 Choreographing Ballet audiences will again see a Comeback lavish productions, daredevil leaps

uch of the beauty of ballet lies in its ability to create a The Houston Ballet will perform Mgrandiose world on stage. “Marie” at the That’s why area ballet fans are cheering Mahalia Jackson the return of the New Orleans Ballet Theatre on March Association to the Mahalia Jackson 27-28. Dancers pictured: Theatre of the Performing Arts. Christopher “I love the big spectacle of ballet,” Coomer and says Cecile Gibson, a ballet teacher Melody Herrera. and NOBA’s immediate past president. “For this we need the Mahalia Jackson AM FRANCIS PHOTOGRAPH Theatre. There’s not a stage in town P like it. It’s a real thrill to be back over there.” One of Gibson’s former pupils, prima ballerina Wendy Whelan, will star in the Jan. 10 festivities celebrating the re-opening of the theater. Whelan, a principal dancer with the New York City Ballet, studied under Gibson as a child in Louisville, Ky. “Cecile’s the one who got me to New York and got me my career,” Whelan says. “I owe her a lifetime of gratitude.” Wheeldon’s pas de deux, “Liturgy,” set for Two Timpanists and Orchestra,” Whelan and her partner, Albert to “Fratres” by Arvo Part. The gala will and Vladimir Martinov’s “Come In!” Evans, will perform Christopher also feature a performance It is a treat for local audiences to by eight dancers from the see a ballerina of Whelan’s caliber, San Francisco Ballet, who Gibson says: “She’s at the top of the will dance “Double Evil” by ladder. We don’t get big ballet stars Jorma Elo, set to Philip here very often.” Glass’ “Concerto Fantasy Jenny Hamilton, NOBA’s executive

"We are honored to be one of the first companies to perform at the Mahalia Jackson Theatre for the Performing Arts since its renovation following Hurricane Katrina. We hope, in our own way, that this performance demonstrates the respect “and admiration we hold for the city of New Orleans."

—GLENN MCCOY, EXECUTIVE DIRECTOR, SAN FRANCISCO BALLET San Francisco Ballet ERIK TOMASSON PHOTOGRAPH ”

26 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 The New Orleans City Ballet performed “Carmina Burana” in May 1985 at the then- New Orleans The New Orleans Ballet Ensemble and students Theatre for the from the NORD/NOBA Center for Dance performed Performing Arts. “A Midsummer Night’s Dream” in March 1995. director, says the San Francisco Ballet will feature Diavolo will perform “Dreamcatcher” at was eager to perform at the theater’s daredevil stunts the Mahalia Jackson Theatre on May 9. rededication and wanted to play a role that require in helping New Orleans Ballet get back huge props. on its feet. Another plus Like other arts organizations, NOBA for the Mahalia lost its home when the Mahalia Jackson Jackson Theatre Theatre was inundated by the August is its location, 2005 flood. The ballet later presented says Cynthia performances at Tulane University’s LeBreton, NOBA’s Dixon Hall, which seats around 950 present people, and at New Orleans Center for chairwoman. the Creative Arts. The venues were “The theater is suitable for small, intimate shows but almost in the very too small for many of the ballets NOBA center of the city,” likes to bring in. she says. Its Still, patrons were supportive. “Our location, near subscriber base has grown,” Hamilton Congo Square, is says. Almost every performance at a historical one PHOTOGRAPH DIAVOLO Dixon hall was sold out. with links to the Returning to the Mahalia Jackson New Orleans music scene. LeBreton 2009 performances scheduled by the New Orleans Ballet Theatre will open more possibilities says many locals have sentimental ties Association at the Mahalia for the dancers NOBA can attract, to the area. Jackson Theatre: Hamilton says. The theater will also Hamilton says the outpouring of offer better accommodations for the support for NOBA from dancers January 10, 7 p.m. Louisiana Philharmonic Orchestra around the country has been uplifting. “An Evening of Music & Dance” musicians who play for the shows. Many companies have offered to help, featuring dancers from New York NOBA’s spring shows will take full including the San Francisco Ballet, City Ballet and San Francisco advantage of the bigger stage and which was eager to take part in the Ballet backstage spaces at the Mahalia NOBA’s homecoming, she says. • Jackson Theatre. On March 27 and 28, March 27-28 (8 p.m.) the Houston Ballet will dance “Marie,” – By Judi Russell Houston Ballet’s “Marie,” with the a lavish telling of the story of Marie Louisiana Philharmonic Orchestra Antoinette. The show will include 77 dancers and three truckloads of May 9 (8 p.m.) scenery. On May 9, “Diavolo” Diavolo

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 27 An OrchestraFinds its Place

t isn’t easy taking a symphony orchestra on the road. Just ask Babs IMollere. “We’ve lived on a truck,” the managing director of the Louisiana Philharmonic Orchestra said recently. Displaced from the Orpheum Theatre after the Hurricane Katrina, the orchestra became nomadic, performing on the north shore, in Kenner, at Loyola University and various area churches. “Everybody’s made incredible adjustments,” Mollere says. With the future of the Orpheum still uncertain, the reopening of the The LPO will present an Mahalia Jackson Theatre for the evening of movie music by Performing Arts will be a two-time Grammy winner

homecoming of sorts for the Terence Blanchard at Mahalia PHOTOGRAPH JENNY BAGERT orchestra, which will use the hall as Jackson Theatre on Feb. 28. a new home base. The LPO will continue performing at satellite part of the sound of an orchestra,” he to surrounding areas of Armstrong Park. venues, but the Mahalia Jackson Theatre says, and it’s difficult for the orchestra’s The effect is to make the theater more will give the musicians a place to hang excellent musicians to shine when they “user-friendly,” Long says. their hats, not to mention their violins, play in venues not designed for such At the Jan. 10 reopening gala, “An cellos and sheet music. “The performers performances. Evening of Music and Dance,” world- are thrilled,” Mollere says. “We’ve had brass sections sitting renowned violinist Itzhak Perlman will Upgrades to the Mahalia Jackson in choir lofts,” Mollere says. “Some guest star with the orchestra, Theatre make the hall an ideal location, of the musicians couldn’t hear each performing Bruch’s “Violin Concerto in Music Director and Principal Conductor other well.” G minor.” The full orchestra will Carlos Miguel Prieto says. “The hall is Key among the improvements at the perform Shostakovich’s “Festive Mahalia Jackson Theatre is a new Overture” and Strauss’s “Suite from Carlos acoustical shell worth more than Der Rosenkavalier.” Miguel $500,000, funded in part by a grant The orchestra also will provide the Prieto from the Mellon Foundation. The new music as members of the New York City shell will change the sound and feeling Ballet and the San Francisco Ballet of the hall, Prieto says. He says the perform presentations brought in by the theater’s new professional lighting is New Orleans Ballet Association. another plus. The Jan. 10 concert takes place 36 Orchestra board President Hugh Long years after the Mahalia Jackson Theatre says audiences will find the Mahalia first opened. At that time, the theater Jackson Theatre welcoming, with its was the primary venue for the LPO’s lighter color scheme, new seating, predecessor, the New Orleans spacious lobbies and nearby parking. Philharmonic Symphony Orchestra. Other improvements include a new Mollere says six of the musicians who stage curtain and stage hydraulics, a played at that 1973 concert are still removable floor for dance performances members of the Louisiana Philharmonic. and renovated bathrooms. In the spring, the LPO will perform Outside the theater, patrons will three of its Classics concerts at the notice new sidewalks and improvements Mahalia Jackson Theatre, to include

28 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 2009 performances by the Louisiana Philharmonic Orchestra scheduled at Mahalia Jackson Theatre:

Jan. 10 An Evening of Music and Dance, 7 p.m. Featuring Itzhak Perlman. Violin Concerto in G Minor, Bruch; Festive Overture, Shostakovich; Suite from der Rosenkavalier, Strauss.

Jan. 13 Beethoven and the Blues, 6:30 p.m. Special performance by Allen Toussaint, piano and vocals. Symphony No. 5, Beethoven.

Friday, Feb. 6 Open Rehearsal for Beethoven Symphony No. 6 (10 a.m.)

Saturday, Feb. 7 Beethoven No. 6 (8 p.m.)

Mariachi Cobre will join the LPO to present Sunday, Feb. 8 Pan-American Life “Fiesta Sinfónica” at Mahalia Jackson Theatre on Feb. 8. Pan-American Life “Fiesta Sinfónica” (3 p.m.)

Beethoven’s Symphony No. 6, Purely The orchestra is hoping for a long- Saturday, Feb. 28 Percussion, and Beethoven’s eighth and term relationship with the Mahalia Jazz in Film — The Movie Music ninth symphonies. Jackson Theatre, Prieto says. He would of Terence Blanchard (8 p.m.) The orchestra also will play three like to see enough slots kept open at Friday, April 3 Spotlight concerts there: Pan-American the hall for the LPO to play its Classics Open Rehearsal for Purely Life Fiesta Sinfonica, Jazz in Film — Series there next year. “If the LPO is Percussion (10 a.m.) The Music of Terence Blanchard, and treated as a bastion of culture for New Club Swing. In March the LPO will Orleans,” he says, it will become a Saturday, April 4 accompany the Houston Ballet’s permanent tenant. Purely Percussion (8 p.m.) performance of “Marie,” a lavish ballet One positive aspect of the traveling based on the life of Marie Antoinette, the orchestra has done in the past three Sunday, April 5 presented by the New Orleans years is a build-up in its regional Percussion Spectacular (3 p.m.) Ballet Association. reputation, Mollere says. As a result, Support for the LPO has been strong concerts will continue at First Baptist Saturday, April 25 in the post-Katrina years, Long says. Church in Covington, First Baptist Club Swing (8 p.m.) Some of the patrons who left New Church in Kenner, Louis Roussel Hall Orleans after the hurricane ended up in at Loyola University and other locations Saturday, May 16 nearby spots, such as St. Tammany and so music-lovers who can’t come to the Beethoven Symphonies No. 8 Jefferson Parish, and continued to Mahalia Jackson Theatre can still and No. 9 (8 p.m.) attend orchestra events in those areas. participate in the LPO’s season. • Donations have actually gone up because each donor is giving more on – By Judi Russell average than before, he says.

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 29 Irma Thomas RICK OLIVER PHOTOGRAPH Not Just the Classics Jazz, blues, gospel, children’s art are at home in the Mahalia Jackson Theatre

he refurbished Mahalia Jackson Omar. The city presents this concert Theatre for the Performing Arts free to all citizens who care to join in T will do a great deal more than the celebration. provide a much-needed home for the A major highlight of the classical performing arts. The theater celebratory events is the Jan. 16 is equipped to host events ranging concert, “An Evening with Irvin from Broadway shows and jazz Mayfield and Yolanda Adams.” The concerts to movie premieres. concert is a tribute to gospel legend The grand re-opening events will Mahalia Jackson, during which Mayor help set the stage for the theater’s C. Ray Nagin will present the first many new uses beginning on Jan. 8 “Mahalia Jackson Gospel Pioneer with a special concert, “The New Award” to a local citizen who has Orleans All Star Revue.” The show championed gospel music. Gospel will feature quintessential local superstar Adams and trumpet virtuoso performers and other stars, including Mayfield will headline the tribute, Grammy-winning songstress Irma along with the New Orleans Jazz Thomas, the Preservation Hall Jazz Orchestra, of which Mayfield is the Band, Kermit Ruffins and the Rebirth founder and artistic director. Brass Band, Marva Wright, Michael Grammy-winner Adams will Ward, Phillip Manuel, Jeremy perform several of her own songs, Yolanda Adams Davenport, Ingrid Lucia and Fredy backed by her own band, and will

30 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Irvin Mayfield Fredy Omar COURTESY OF NEW ORLEANS JAZZ ORCHESTRA PHOTO COURTESY

be joined on selected songs by One the Humanities. New Orleans Chorus, an all-star Families are invited to gospel ensemble of 30 voices from a 90-minute production various local churches assembled by and exhibit as part of the music director Clarke Knighten. re-opening events. Prior to the concert, a video about Performances of theater, Mahalia Jackson, a New Orleans native music and dance will be widely regarded as the greatest gospel provided by The Center singer ever, will be shown. For Dance (a cultural community partnership Phillip between the New Orleans Manuel Recreation Department and the New Orleans Ballet Association), Crescent City Lights Youth Theatre, and the Greater New Orleans Youth Orchestra. The New Orleans Ballet Association, in collabora- tion with other leading arts education institutions and NORD partners,

will offer a free matinee T MERIPOL PHOTOGRAPH as part of the Family Jeremy Davenport AR Day festivities. In addition, outstanding local visual Jackson Theatre for the Performing

ACQUATI PHOTOGRAPH AOLO ACQUATI and performance works will be Arts, Arts Center Enterprises Inc. P presented during the opening events, ACE is a theatrical facility courtesy of YA/YA (Young management company with Families are the target audience for Aspirations/Young Artists Inc.), experience in performing arts a Jan. 11 celebration presented by the KidsmART, Ashe Cultural Arts Center venues around the country. • New Orleans Recreation Department and Congo Square Drumming Circles. Cultural Partners and local recipients Filling the performance hall and of the prestigious “Coming Up surrounding area throughout the rest Taller Awards” from the President’s of the year will be the responsibility of Committee on the Arts and the new manager of the Mahalia

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 31 The Opening Productions

SATURDAY, JAN. 10, 7 P.M. Music: Fratres (1977) for violin, string orchestra, and “An Evening of Music and Dance” percussion by Arvo Pärt Guest Conductor: Martin West; Solo Violin: Joseph Meyes; Presented by the Louisiana Philharmonic Orchestra and the Costume Design: Holly Hynes; Lighting Design: New Orleans Ballet Association. Mark Stanley ! Louisiana Philharmonic Orchestra Music Director Carlos Premiere: May 31, 2003, New York City Ballet, New York Miguel Prieto conducts renowned violinist Itzhak Perlman State Theater and the orchestra in Bruch’s “Violin Concerto in G Minor”; Original cast: Wendy Whelan, Jock Soto Shostakovich’s “Festive Overture”; and Strauss’ “Suite from der Rosenkavalier.” Wendy Whelan, Albert Evans ! The New Orleans Ballet Association presents Wendy Arvo Pärt’s Fratres – Used by arrangement with European Whelan and Albert Evans New York City Ballet soloists American Music Distributors LLC, U.S. and Canadian agent performing “Liturgy,” by Christopher Wheeldon, with for Universal Edition Vienna, publisher and copyright owner Louisiana Philharmonic Orchestra playing music by Arvo Pärt. ! Dancers from the San Francisco Ballet perform “Double San Francisco Ballet Evil,” by choreographer Jorma Elo, with Louisiana Helgi Tomasson, Artistic Director Philharmonic Orchestra playing “Concerto Fantasy for Two Timpanists and Orchestra” by Philip Glass and “Come In!” Double Evil by Vladimir Martynov. Choreographer: Jorma Elo Music: Concerto Fantasy for Two Timpanists and Orchestra Louisiana Philharmonic Orchestra (2000) by Philip Glass; Come In! (1988) by Vladimir Martynov; Guest Conductor: Martin West; Timpanists: Carlos Miguel Prieto, Conductor; Itzhak Perlman, Violin Jonathan Haas and Jim Atwood; Solo Violin: Joseph Meyer; Costume Design: Holly Hynes; Lighting Design: James F. Dmitri Shostakovich (1906-1975) Ingalls; Premiere: April 24, 2008, San Francisco Ballet, War Festive Overture, Op. 96 (7’) Memorial Opera House

Max Bruch (1838-1920) Elana Altman, Dores Andre Rodriguez, Pauli Magierek, Violin Concerto No. 1 in G minor, Op. 26 (23’) Maria Kochetkova, Pascal Molat, Garen Scribner, James Prelude: Allegro moderato Sofranko, Anthony Spaulding Adagio Finale: Allegro energico Philip Glass’ Concerto Fantasy for Two Timpanists and Orchestra, Movements 1 & 3 © 2000 Dunvagen Music Itzhak Perlman, Violin Publishers Inc., used by permission. Vladimir Martynov’s Come In!, Movements I & V used by arrangement with G. Richard Strauss (1864-1939) Schirmer, Inc., publisher and copyright owner. Suite from Der Rosenkavalier, Op. 59 (21’)

INTERMISSION Who’s Who New Orleans Ballet Association Presents Louisiana Philharmonic Orchestra, 2008-2009 Carlos Miguel Prieto, Music Director Principal Dancers of New York City Ballet The Adelaide Wisdom Benjamin Music Director and Wendy Whelan & Albert Evans Principal Conductor Klauspeter Seibel, Principal Guest Conductor Liturgy Rebecca Miller, Resident Conductor Choreography: Christopher Wheeldon

32 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Carlos Miguel Prieto – Music Tenors, Encore! live from Dodger Stadium in Los Angeles, and Director and Principal Conductor, one of his proudest achievements is his collaboration with film Louisiana Philharmonic Orchestra score composer John Williams in Steven Spielberg’s Academy Adelaide Wisdom Benjamin Music Award winning film Schindler’s List, in which he performed the Director and Principal Conductor of the violin solos. Louisiana Philharmonic Orchestra, Prieto Mr. Perlman has been honored with four Emmy Awards, is considered one of the most dynamic most recently for the PBS documentary Fiddling for the Future, young conductors in the music world. and in February 2008, he was honored with a Grammy Currently, he holds a total of four music Lifetime Achievement Award for excellence in the recording directorships in his native Mexico and the arts. His recordings regularly appear on the best-seller charts United States. In July 2007, he was named music director of and have garnered fifteen Grammy Awards. Over the past Mexico’s most important orchestra, the Orquesta Sinfónica decade Mr. Perlman has become more actively involved in Nacional de Mexico (National Symphony Orchestra of Mexico), educational activities. He has taught full time at the Perlman while also remaining music director of the Orquesta Sinfónica de Music Program each summer since it was founded and Minería. In the United States, Prieto contributes enthusiastically currently holds the Dorothy Richard Starling Foundation Chair to the cultural renewal of New Orleans and continues to serve as at the Juilliard School. music director of the Huntsville Symphony Orchestra. Numerous publications and institutions have paid tribute to A graduate of Princeton and Harvard Universities, he has made Itzhak Perlman for the unique place he occupies in the artistic guest appearances with orchestras in Mexico, the United States, and humanitarian fabric of our times. Harvard, Yale, Brandeis, Germany, Holland, Russia, Portugal, Spain, France, Ireland, Roosevelt, Yeshiva and Hebrew universities are among the insti- Israel, and throughout Latin America. A strong proponent of tutions which have awarded him honorary degrees. He was education, Prieto has conducted the Youth Orchestra of the awarded an honorary doctorate and a centennial medal on the Americas since 2002. He has performed with this enthusiastic occasion of Juilliard’s 100th commencement ceremony in May ensemble at the United Nations and the Kennedy Center, and 2005. President Reagan honored Mr. Perlman with a “Medal of has toured throughout South America and Mexico. Carlos Liberty” in 1986, and in December 2000, President Clinton Miguel, also an accomplished violinist, became a member of the awarded Mr. Perlman the “National Medal of Arts.” His presence Cuarteto Prieto (a tradition of four generations) at an early age. on stage, on camera and in personal appearances of all kinds With them he has performed in the most important venues of speaks eloquently on behalf of the disabled, and his devotion to Mexico, the United States, and Europe. their cause is an integral part of Mr. Perlman’s life.

Itzhak Perlman – Violin Wendy Whelan – Principal Undeniably the reigning virtuoso of Dancer, New York City Ballet the violin, Itzhak Perlman enjoys Wendy Whelan was born and superstar status rarely afforded a raised in Louisville, Kentucky, where classical musician. Beloved for his at the age of three she began taking charm and humanity as well as his dance classes. At eight she joined talent, he is treasured by audiences the Louisville Ballet Academy and throughout the world who respond began intense professional ballet not only to his remarkable artistry, but training. In 1981 she received a also to the irrepressible joy of making scholarship to the summer course at music, which he communicates. the School of American Ballet (SAB), the official school of Born in Israel in 1945, Mr. Perlman completed his initial New York City Ballet, and a year later, became a full-time training at the Academy of Music in Tel Aviv. He came to New student there. In 1984, she danced as an apprentice with New York and soon was propelled into the international arena with an York City Ballet, and became a member of the corps de ballet appearance on The Ed Sullivan Show in 1958. Following his in 1986. She was promoted to soloist in 1989 and then to studies at the Juilliard School with Ivan Galamian and Dorothy principal dancer in 1991. DeLay, Mr. Perlman won the prestigious Leventritt Competition She has performed as a guest artist with The Royal Ballet, the in 1964, which led to a burgeoning worldwide career. Since Kirov Ballet, and Morphoses/The Wheeldon Company. She was then, Itzhak Perlman has appeared with every major orchestra nominated for an Olivier Award for her fall 2007 performances and in recitals and festivals around the world, both as a soloist with Morphoses at Sadler’s Wells, and has toured extensively and as a conductor. throughout the United States, Europe, and Asia. In 2002, Ms. Also a major presence in the performing arts on television, Mr. Whelan appeared in the nationally televised Live From Lincoln Perlman has entertained and enlightened millions of TV viewers Center broadcast New York City Ballet’s Diamond Project: Ten on popular shows as diverse as The Late Show with David Years of New Choreography on PBS, dancing in Red Angels, and Letterman, Sesame Street, The Tonight Show, the Grammy awards in 2004 she appeared in the Live From Lincoln Center broadcast telecasts, and numerous Live From Lincoln Center broadcasts. In of Lincoln Center Celebrates Balanchine 100, dancing in Brahms- July 1994, Mr. Perlman hosted the U.S. broadcast of the Three Schoenberg Quartet.

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 33 Albert Evans – Principal Dancer, About the San Francisco Ballet New York City Ballet San Francisco Ballet, the oldest Albert Evans was born in Atlanta, professional ballet company in Georgia, and began his ballet training America, has emerged as a world- at Terpsichore Expressions. In 1986, class arts organization since it was he was awarded a full scholarship to founded as the San Francisco Opera the School of American Ballet (SAB), Ballet in 1933. Initially, its primary the official school of New York City purpose was to train dancers to Ballet. Mr. Evans was made a member appear in lavish, full-length opera of New York City Ballet’s corps de productions. In 1942, the Company ballet in the spring of 1988 and was became a totally separate entity from the opera and was immediately given leading roles in two American Music Festival renamed San Francisco Ballet. Willam Christensen was artistic ballets: William Forsythe’s Behind the China Dogs and Eliot Feld’s director, and his brother Harold was appointed director of the The Unanswered Question. He was promoted to soloist in the San Francisco Ballet School, a position he retained for 33 years. spring of 1991, and to principal in the winter of 1995. A third brother, Lew Christensen, America’s first premier Mr. Evans choreographed Haiku, to music by John Cage, for danseur, joined Willam as co-director in 1951, and took over New York City Ballet’s 2002 Diamond Project. In January 2003, the Company the following year. Under Lew’s direction, the Mr. Evans’ One Body, a solo for NYCB principal dancer Peter Company made its East Coast debut at Jacob’s Pillow Dance Boal to music by John Kennedy, was premiered at the Joyce Festival in 1956 and toured 11 Asian nations the following year, Theater as part of the Altogether Different Festival. Mr. Evans marking the first performances of an American ballet company premiered Broken Promise, set to an original score by Juilliard in the Far East. composition student Mathew Fuerst, during the spring 2005 In 1972, after performing in various San Francisco theaters, season. In May of 2002, Mr. Evans appeared in the Live From the Company settled permanently in the War Memorial Opera Lincoln Center broadcast of New York City Ballet’s Diamond Project: House for its annual residency. The following year, Michael Ten Years of New Choreography, dancing in Red Angels. Smuin was appointed associate artistic director and celebrated his new partnership with Lew Christensen by collaborating on a Christopher Wheeldon – full-length production of Cinderella. In 1976, Smuin’s Romeo Choreographer and Juliet became the first full-length ballet and the first Christopher Wheeldon was born performance by a West Coast company to be shown on the in Somerset, England. He joined PBS television series Dance in America. In 1981, Smuin’s The The Royal Ballet in 1991 and that Tempest—the first ballet ever broadcast live from the War same year won the Gold Medal at Memorial Opera House—was nominated for three Emmy the Prix de Lausanne competition. Awards (Willa Kim received the award for Outstanding In 1993, he was invited to become Costume Design). Three years later, Smuin received an Emmy a member of New York City Ballet’s Award for Choreography for the Dance in America national corps de ballet, and in 1998 he was promoted to the rank of broadcast of A Song for Dead Warriors. soloist. Mr. Wheeldon retired from dancing in May 2000, and In 1991, San Francisco Ballet performed in New York City for after serving as New York City Ballet’s first Artist in Residence the first time in 26 years, returning in 1993, 1995, 1998, 2002, during the 2000-2001 season, Mr. Wheeldon was appointed and 2006 for the Company’s first engagement at the Lincoln Resident Choreographer. In addition to the works he has chore- Center Festival. Following the initial tour, The New York Times ographed for New York City Ballet (Slavonic Dances, 1997; proclaimed, “Mr. Tomasson has accomplished the unprece- Scènes de Ballet, 1999; Mercurial Manoeuvres, 2000; Polyphonia, dented: He has pulled a so-called regional company into the 2001; Variations Sérieuses, 2001; Morphoses, 2002; Carousel (A national ranks, and he has done so by honing the dancers into a Dance), 2002; Carnival of the Animals, 2003; Shambards, 2004), classical style of astonishing verve and purity. San Francisco Mr. Wheeldon has also choreographed for Boston Ballet, Ballet under Helgi Tomasson’s leadership is one of the Colorado Ballet, Ballet Inc., The Royal Ballet, The Royal Ballet spectacular success stories of the arts in America.” San Francisco School, and the School of American Ballet. His work can also Ballet continues to enrich and expand its repertory and presents be seen in Columbia Pictures’ feature film Center Stage (2000). approximately 100 performances annually. The San Francisco In 2007, he partnered with Lourdes Lopez to found Morphoses Ballet School, overseen by Tomasson, attracts students from / The Wheeldon Company, a new, dynamic, ballet company around the world, training approximately 350 annually. In based in New York and London. The company’s inaugural addition to filling the ranks of San Francisco Ballet, graduates season included performances at the Vail International Dance have gone on to join distinguished ballet companies throughout Festival in Colorado, Sadler’s Wells in London, and New York the world. City Center.

34 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 Helgi Tomasson – Artistic Choreographic Award in 2006. Also in 2006, Dance Magazine Director and Choreographer, recognized Elo as one of “25 to Watch,” Pointe Magazine San Francisco Ballet named him a “Dance VIP of 2006,” and The New York Times Under Helgi Tomasson’s named him as one of “10 to Watch.” leadership as artistic director since 1985, San Francisco Ballet has Martin West – Music Director evolved into a world-class company, and Principal Conductor, San praised for its diversity and broad Francisco Ballet repertory. Tomasson was first Martin West is acknowledged as discovered by Jerome Robbins in his one of the foremost conductors of native Iceland and offered a dance ballet, garnering critical acclaim scholarship to New York’s School of American Ballet. throughout the world. Born in Subsequently, he began his professional career with The Joffrey Bolton, England, he studied math at Ballet, The Harkness Ballet, and later joined New York City St. Catharine’s College, Cambridge Ballet, where he became one of the company’s most celebrated University, before studying at the St. principal dancers. Tomasson has choreographed over 40 works, Petersburg Conservatory of Music and London’s Royal and his numerous awards include being named Officier in the Academy of Music. In 1997, West made his debut with French Order of Arts and Letters for his contribution to English National Ballet and was immediately appointed furthering the arts in France and worldwide, and in 2002 he resident conductor. There, he conducted almost half of the received an honorary degree from New York’s Juilliard School. company’s performances throughout England and abroad as In May 2007, on tour to Iceland, Tomasson was awarded the principal conductor. He then became principal guest Grand Cross Star of the Order of the Falcon, the country’s most conductor, allowing him the flexibility to conduct companies prestigious honor. This year, he was awarded the such as New York City Ballet and Houston Ballet. From 1998 Commonwealth Club of California’s Distinguished Citizen - 2005, West was the music director of the Cambridge Award and led the Company through its 75th anniversary. This Philharmonic, one of England’s oldest and highest-achieving milestone year included a four-city national tour and a New amateur music societies. In recent seasons, he has worked Works Festival, conceived by Tomasson, which presented 10 with the Hallé Orchestra, the London Concert Orchestra, world premieres by 10 renowned choreographers, including Holland Symfonia, and the Royal Liverpool Philharmonic Jorma Elo’s Double Evil. In addition to his role as artistic director Orchestra. West recently made his U.S. symphonic of the Company, Tomasson is the director of the San Francisco conducting debut with Silicon Valley Symphony. West had a Ballet School. long association with Pimlico Opera, touring frequently with them, including conducting West Side Story inside a prison Jorma Elo – Choreographer with the inmates as part of the cast. In 2005, West joined In just a few short years, Finnish- San Francisco Ballet, having been a frequent guest since his born Jorma Elo has become one of debut two years earlier. the most sought-after choreographers in the United States and Europe. Elo, SAN FRANCISCO BALLET DANCERS who was named resident choreogra- Elana Altman pher of Boston Ballet in 2005, was A native of San Francisco, Elana singled out as a “talent to follow” by Altman trained at the San Anna Kisselgoff in her 2004 Year in Francisco Ballet School before Review for The New York Times. He joining the Company in 2001. She has created works in the U.S. and internationally for was promoted to soloist in 2005. companies including New York City Ballet, American Ballet She has danced roles including Theatre, Boston Ballet, Royal Danish Ballet, Finnish National Myrtha in Tomasson’s Giselle, the Ballet, Aspen Santa Fe Ballet, and Hubbard Street Dance Lilac Fairy in Tomasson’s The Chicago. Other recent work includes Double Evil for San Sleeping Beauty, and the Sugar Francisco Ballet’s New Works Festival in spring 2008. Elo Plum Fairy and the Snow Queen in Tomasson’s Nutcracker; trained with the Finnish National Ballet School and the Kirov Mercedes in Tomasson/Possokhov’s Don Quixote; a principal Ballet School in Leningrad. Prior to joining Nederlands in Balanchine’s “Rubies” and Calliope in Balanchine’s Apollo; a Dance Theater in 1990, he danced with Finnish National principal role in Forsythe’s Artifact Suite; and Firebird in Ballet (1978 - 1984), and with Cullberg Ballet (1984 -1990). Possokhov’s Firebird. She also created a role in Tomasson’s On The 2005 Helsinki International Ballet Competition awarded Common Ground. Elo a choreographic prize, and he was the recipient of the Prince Charitable Trust Prize and the Choo-San Goh

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 35 Dores Andre Pascal Molat A native of Vigo, Spain, Doris A native of Paris, France, Pascal Andre trained at the Estudio de Molat trained at Paris Opéra Ballet Danza de Maria Avila before joining School and danced with Royal Ballet the Company as a corps de ballet of Flanders and Les Ballets de Monte- member in 2004. She has danced Carlo before joining the Company as roles including Ballerina Doll, a soloist in 2002. He was promoted Mirliton, Spanish, Flower, Snowflake, to principal dancer the following and Maid in Tomasson’s Nutcracker; year. He has created many roles in Kitri’s friend and Gypsy in Tomasson/Possokhov’s Don works such as Taylor’s Spring Rounds; Wheeldon’s Rush; Quixote; and Moyna in Tomasson’s Giselle. She has also Possokhov’s Study in Motion and Reflections; Welch’s Falling; danced in de Mille’s Rodeo, Possokhov’s Firebird, Forsythe’s Tomasson’s Concerto Grosso, Blue Rose, and 7 for Eight; and the Artifact Suite, and as a principal in Wheeldon’s Carousel (A role of Aminta in Morris’ Sylvia. Other ballets in his repertory Dance). She was awarded first place at the Cuidad de include the role of Basilio in Petipa’s Don Quixote; Romeo in Torrelavega competition in 1996. Maillot’s Romeo and Juliet; Dartagnan in Prokovsky’s The Three Musketeers; Balanchine’s Ballo della Regina, The Four Maria Kochetkova Temperaments, and Tchaikovsky Pas de Deux; the male lead in A native of Moscow, Russia, Robbins’ Dybbuk, Brown in Dances at a Gathering, and Fancy Maria Kochetkova trained at the Free; Tharp’s Octet; Forsythe’s Second Detail, Artifact Suite, and Bolshol School in Moscow and In the Middle, Somewhat Elevated; Kylián’s Sechs Tanze and No danced with The Royal Ballet, More Play; and van Manen’s Grosse Fuge and Solo. In addition, English National Ballet and the Mr. Molat has also performed works by choreographers Russian State Ballet as a guest artist including Armitage, Ashton, Bejart, Bintley, Childs, Kudelka, before joining the Company as a Lubovitch, MacMillan, McGregor, Mrozewski, Ratmansky, principal dancer in 2007. She has and Rosseel. Mr. Molat received the gold medal and a special performed many principal roles jury’s prize at the International Mediterranean Competition in including Giselle in Coralli, Perrot, and Coralli/Perrot/Petipa’s 1994. He has been a guest artist at various companies, galas, Giselle; Aurora and Bluebird pas de deux in and festivals. Petipa/MacMillan’s The Sleeping Beauty; Kitri in Gorsky/Petipa’s Don Quixote; Alice in Deane’s Alice in Garen Price Scribner Wonderland; the Sugar Plum Fairy in Vainonen/Hampson’s Born in Arlington, Virginia, Garen Nutcracker. She has also performed in Dawson’s Million Price Scribner trained at the North Kisses to My Skin and Van Manen’s Trois Gnossiennes. Honors Carolina School of the Arts, Ms. Kochetkova has received include a gold medal at the Maryland Youth Ballet, San International Ballet Competition in Seoul, Korea, in 2005; Francisco Ballet School, and Boston gold medals at the International Ballet Competition in Rome Ballet School. He was named an and Riety, Italy, in 2005; a gold medal at the International apprentice at San Francisco Ballet in Ballet Competition of Luxembourg, in 2003; a silver medal 2003, joined the Company as a and the “Press Jury Prize” at the Varna International Ballet member of the corps de ballet a year later, and was Competition, in 2003; a winner of the Prix de Lausanne, in promoted to soloist in 2008. Scribner danced a number of 2002; and a bronze medal at Moscow International prominent roles during the 75th Anniversary Season in Competition, Moscow, in 2001. works such as Adam’s A Rose By Any Other Name, Caniparoli’s Ibsen’s House, Christensen’s Filling Station, Pauli Magierek Robbins’ West Side Story Suite, and Wheeldon’s Pauli Magierek was appointed Within the Golden Hour. apprentice in 1997 and joined San Francisco Ballet as a corps de ballet Anthony Spaulding member in 1998. She was promoted Born in Phoenix, Arizona, to soloist in 2008. Born in Chicago, Anthony Spaulding trained at Magierek studied at the Ruth Page Arizona Ballet School and San Foundation School of Dance, Francisco Ballet School prior to Chicago Academy for the Arts, Royal Ballet School, and becoming an apprentice in 2004. Houston Ballet Academy. She has performed leading roles in He joined the Company as a Wade Robson’s The Energy Between Us and in Margaret member of the corps de ballet in Jenkins’ Thread. Magierek was also featured in Lew 2006 and has performed lead roles Christensen’s Filling Station, Elo’s Double Evil, Paul Taylor’s in Hans van Manen’s Two Pieces for Het, Canlparoll’s Isben’s FRANCISCO PHOTOGRAPHS BY DAVID ALLEN SAN FRANCISCO PHOTOGRAPHS BY DAVID Changes, and Julia Adam’s A Rose By Any Other Name. House and Taylor’s Changes. In addition, he was featured in

36 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 McGregor’s Eden/Eden and as the Snow Kind in Tomasson’s Flutes Nutcracker. He was promoted to soloist in 2008. Dean Miller, Principal The Mary Freeman Wisdom Principal Flute Chair James Sofranko Sarah Schettler Born in Marion, Indiana, James Sofranko trained at institutions Patti Adams, Assistant Principal including The Juilliard School The Richard C. And Nancy Link Adkerson Flute Chair (where he received his BFA), the Harid Conservatory, Pacific Piccolo Northwest Ballet School, Houston Patti Adams Ballet Academy, and The Chautauqua School. He joined the Oboes Company in 2000 and was Jaren Philleo, Principal; Jane Gabka, Assistant Principal; promoted to soloist in 2007. Mr. Sofranko has danced roles Meredeth Rouse at SF Ballet including Mercutio in Tomasson’s Romeo and Juliet and Chinese and Russian in Tomasson’s Nutcracker; a English Horn principal role in Lubovitch’s Elemental Brubeck; Kaschei in Meredeth Rouse Possokhov’s Firebird; the second sailor in Robbins’ Fancy Free; and Bugle Boy in Taylor’s Company B and Spring Clarinets Rounds. Other ballets in his repertory include MacMillan’s Robyn Jones, Principal; Stephanie Thompson, Assistant Elite Syncopations, Van Manen’s Grosse Fugue, and Wheeldon’s Principal; John Reeks Continuum. Mr. Sofranko also appeared as “Eddie” in Twyla Tharp’s Broadway production Movin’ Out. Eb Clarinet Stephanie Thompson

Bass Clarinet Louisiana Philharmonic Orchestra John Reeks Violins Joseph Meyer, Concertmaster Bassoons The Edward D. And Louise L. Levy Concertmaster Chair Susan Loegering, Principal; David Purrington; Benjamin John Hilton, Associate Concertmaster; Byron Tauchi, Atherholt, Assistant Principal Principal 2nd Violin; Xiao Fu, Assistant Principal 2nd Violin; Burton Callahan; Razvan Constantin; Zorica Dimova; Contrabassoon Judith Armistead Fitzpatrick; Ansis Freimanis; Eva Benjamin Atherholt Liebhaber; Janeta Mavrova; Elizabeth Overweg; Gabriel Platica; Yaroslav Rudnytsky; Karen Sanno; Yuki Tanaka French Horns Kate Withrow; Sarah Yen; Hannah Yim Mollie Pate, Principal; Samantha Woolf; John Gardner, Associate Principal; Juliann Welch Violas Trumpets Richard Woehrle, Principal Vance Woolf, Principal; Matthew Ernst, Associate Principal; The Abby Ray Catledge And Byrne Lucas Ray Principal Ben Budish Viola Chair Bruce Owen, Assistant Principal; Matthew Carrington; Trombones Amelia Clingman; Valborg Gross; David Rebeck; Ila Greg Miller, Principal; Carson Keeble; Michael Brown, Bass Rondeau; Carole Shand; *Scott Slapin; *Tanya Solomon trombone Cellos Jonathan Gerhardt, Principal Tuba The Edward B. Benjamin Principal Cello Chair Robert Nunez, Principal William Schultz, Assistant Principal; Ann Cohen; Jeanne Jaubert; Kent Jensen; David Rosen; Dimitri Vychko Timpani Jim Atwood, Principal Basses David Anderson, Principal; William Schettler, Assistant Percussion Principal; Kirsty Matheson; Tony Parry; Ben Wheeler; Nena Lorenz, Principal; Dave Salay *David Carbonara

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 37 Harp Rachel Van Voorhees, Principal 1960s were penned under the pseudonym Naomi Neville. These include "Ruler of My Heart", recorded by Irma Piano Thomas and reinterpreted as "Pain in My Heart" by Otis Mary Ann Bulla Redding. He arranged horn music for The Band's 1971 album Cahoots, as well as arranging horn parts into their The string section of the Louisiana Philharmonic Orchestra is concert repertoire. Toussaint soon launched his own solo listed alphabetically and participates in revolving seating. career, which peaked in the '70s with the albums From a *On leave for the 2008-2009 season Whisper to a Scream and Southern Nights. For much of his career he partnered with Marshall Sehorn. They co-owned and operated the Sea-Saint recording studio in the Gentilly neighborhood of New Orleans. They also partnered in a record label that went under various names. Along with many of his contemporaries, Allen Toussaint found that TUESDAY, JAN. 13, 6:30 P.M. interest in his compositions was rekindled when his work “Beethoven and the Blues” began to be heavily sampled by hip hop artists in the 1980s The Louisiana Philharmonic Orchestra presents and 1990s. He was inducted into the Rock and Roll Hall of Fame in 1998. Since Hurricane Katrina Mr. Toussaint has Beethoven’s “Symphony No. 5” and a special been touring and spreading the wor d of the city blight and performance by famed composer and pianist restoration. In 2007 his collaboration with Elvis Costello on Allen Toussaint. the River in Reverse album was Grammy nominated for vocal album of the year. Carlos Miguel Prieto, Conductor Allen Toussaint, Piano and Vocals SATURDAY, JAN. 17, 6:30 P.M. Dmitri Shostakovich (1906-1975) “A Glorious Gala Concert featuring Festive Overture, Op. 96 (7’) Placido Domingo” Allen Toussaint A musical feast hosted by opera association Artistic Selections: To be announced from the stage Director Robert Lyall and Academy Award-nominated actress Patricia Clarkson. The world’s leading tenor Ludwig Van Beethoven (1770-1827) appears for a gala concert and dedication of The Plácido Symphony No. 5 in C minor, Op. 67 (31’) Allegro con brio Domingo Stage, joined by opera stars Lawrence Andante con moto Brownlee, Sarah Jane McMahon, Kristine Jepson, Sondra Allegro Radvanovsky, Mark Rucker, with music provided by the Allegro Louisiana Philharmonic Orchestra, the New Orleans Opera Chorus and guest appearance by Carlos Miguel Allen Toussaint Prieto. “Long live New Orleans and Long live New Allen Toussaint (born January Orleans Opera.” 14, 1938) is an American musician, songwriter and record producer and one of the most Plácido Domingo influential figures in New Singer Orleans R&B. In the 1960s and Plácido Domingo has sung 124 1970s, he wrote numerous hits different roles, more than any for artists including Lee Dorsey, other tenor in the annals of and Willie West, who sang the music. His repertoire spans the title track for Black Samson, gamut from Mozart to Verdi, Robert Palmer, The Showmen, from Berlioz to Puccini, from The Meters and Solomon Burke and produced material for Wagner to Ginastera. He sings Dr. John, Labelle, and Art and Aaron Neville amongst others. in every important Opera An accomplished pianist, lyricist and arranger, Toussaint House in the world and has wrote many songs which continue to be covered by artists to made an unparalleled amount this day, including "Working in the Coalmine", "Brickyard of recordings of which 101 are full-length operas, often Blues", "Get Out My Life Woman" and "Everything I Do recording the same role more than once, and for which he has Gonna Be Funky". Some of his songs from the 1950s and

38 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009 earned nine Grammy’s and two Grammy’s in the newly established Latin Division. He has made more than 50 Domingo in New Orleans videos and 3 theatrically released films which are Zeffirelli’s Traviata and Otello and Francesco Rosi’s Carmen. His telecast Season 1962/63 Season 1968/69 of Tosca f rom the authentic settings in Rome, was seen by Arturo in Donizetti’s Lucia Luigi in Puccini’s Il Tabarro more than 1 billion people in 117 different countries. He di Lammermoor and Turiddu in Mascagni’s has opened the Met season a record-setting 21 different Cavalleria Rusticana times, having by-passed in 1999 the old Caruso record of 17 Season 1965/66 opening nights. Andrea in Giordano’s Andrea Chenier Season 1969/70 Conductor Riccardo in Verdi’s Un Ballo As a conductor he has led opera performances in all the Season 1966/67 in Maschera important theaters from the Metropolitan to London’s Cavaradossi in Puccini’s Covent Garden and the Vienna State Opera and has Tosca Season 1970/71 conducted purely symphonic concerts with such renowned Don José in Bizet’s Carmen orchestras as the Berlin and Vienna Philharmonic, London Season 1966/67 Symphony and the Chicago Symphony, while also making Turiddu in Mascagni’s March 4, 2006 recordings as a conductor. Cavalleria Rusticana A Night for New Orleans Season 1966/67 with Plácido Domingo Administrator Edgardo in Donizetti’s Lucia As administrator he was the music director of the Seville di Lammermoor World’s Expo Fair and in this capacity invited the world’s foremost orchestras and opera companies including the Season 1967/68 Manrico in Verdi’s Il Metropolitan Opera, to Seville, Spain. He is today the Trovatore General Director of both the Washington National Opera (www.dc-opera.org) and of the Los Angeles Opera (www.losangelesopera.com). Both companies enjoy today special artistic acclaim and financial stability.

Young Artists Domingo’s interest in helping young singers has led his yearly competition “Operalia” (www.operalia.org) which so Robert Lyall far has taken place in Paris (three times), Mexico City, Gereral and Artistic Director Madrid (twice), Bordeaux, Tokyo, Hamburg, Puerto Rico, Robert Lyall is widely known Los Angeles (twice), Washington, Valencia and a as a conductor of opera, combination of Switzerland (St. Gallen), Austria (Bregenz), symphony and ballet and as and Germany (Friedrichshafen, Isle of Mainau). It remains a creative producer of opera. the biggest on the international scene with annual prizes Named General and Artistic amounting close to $200.000. It has launched many singers Director of New Orleans to international recognition, not only through its prizes but Opera in 1998, he has also because of Domingo’s continued interest in furthering their served as General Director careers. and as Artistic Director of Opera Grand Rapids in Humanitarian Michigan since 1989. Lyall Plácido Domingo has raised millions of dollars through has been frequently recognized for artistic excellence in special benefit concerts in order to help such causes as the these and other positions he has held: Music Director of victims of the 1985 Mexican earthquake, AIDS, and the the Victoria Symphony Orchestra and the Oak Ridge victims of such other disasters as the Armenian earthquake, Symphony Orchestra, General Director of the Knoxville the mud-slides of Acapulco and Hurricane Katrina New Opera, and Artistic Director of the Mississippi Opera. In Orleans. addition, Lyall served as Principal Guest Conductor of the Istanbul State Opera in Turkey from 1998-2000. For the complete biography please visit www.placidodomingo.com.

JANUARY 2009 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS 39 Lawrence Brownlee, tenor and New York City Opera bestowed upon her their coveted The remarkable Lawrence Brownlee has Kolozsvar Award. proven himself to be one of the most prominent bel canto tenors on the inter- Kristine Jepson, mezzo-soprano national scene. He is lauded continually Kristine Jepson has appeared in leading for the beauty of his voice, his seemingly theaters internationally including the effortless technical agility, Metropolitan Opera, Teatro alla Scala, and his dynamic and engaging dramatic Royal Opera, Covent Garden, Theatre skills. His schedule regularly comprises a Royale de la Monnaie, Opera National de varied array of debuts and return engagements at renowned Paris, Royal Opera, Covent Garden, music centers for appearances with the world’s pre-eminent Bavarian State Opera, Hamburg State opera companies, orchestras and presenting organizations. Opera, Flemish Opera, San Francisco Opera, Canadian Opera Company, Patricia Clarkson, Master of Miami Opera, Santa Fe Opera Festival and many others. Jepson Ceremonies has won special acclaim for roles such as Sesto in Mozart’s La Patricia Clarkson was born and raised in Clemenza di Tito, the Composer in Strauss’s Ariadne auf Naxos New Orleans. She discovered her love of and, Sister Helen in Dead Man Walking. In December of 2000 acting and theatre while attending Karr Jepson sang her first performances as Octavian in Der Junior High and O. Perry Walker. She Rosenkavalier at the Metropolitan Opera and was praised highly graduated summa cum laude from Fordham for her interpretation of this cornerstone of the mezzo repertoire. University and received her MFA from The She has since made her debuts at the Teatro alla Scala, Theatre de Yale School of Drama. She made her Broadway debut in The La Monnaie in Brussels, the Hamburg State Opera and Bavarian House of Blue Leaves at Lincoln Center and has since performed State Opera in Munich all as Octavian. in many other acclaimed productions including Eastern Standard, Three Days of Rain, Raised in Captivity, The Maiden's Prayer Sondra Radvanovsky, soprano (drama desk and outer critics nominations) and A Streetcar Sondra Radvanovsky’s dramatic stage Named Desire at The Kennedy Center. She made her film debut presence and stunning vocal qualities in The Untouchables and has appeared in numerous films have firmly established her as one of the including High Art (Independent Spirit Award nom.) Far from rising stars on the international stage Heaven (New York Film Critics Award) The Green Mile, Good today. She has been hailed as one the Night and Good Luck, Miracle, Lars and the Real Girl, The Dying great Verdi singers of the new generation, Gaul, No Reservations, Married Life, Vicky Christina Barcelona critically acclaimed for her performances and Elegy. She also appeared in The Station Agent and Pieces of as Elvire in Ernani, Leonora in Il Trovatore, April for which she received many awards including The National Hélène in Les Vêpres Siciliennes and Board of Review, Screen Actors Guild Award, and nominations for Elisabetta in Don Carlo. Her performance as Hélène in the a Golden Globe Award and an Academy Award for Best rarely performed Les Vêpres Siciliennes at the Paris Opera took Supporting Actress. Patricia won two Emmy Awards for her work the opera world by storm. on the acclaimed HBO series Six Feet Under. She has recently completed films directed by Woody Allen and Martin Scorcese for Mark Rucker, baritone 2009 release. Patricia spent the past summer in Egypt starring in From the time of his debut as Renato in the film Cairo Time also slated for release in 2009. Un ballo in maschera with the late Luciano Pavarotti for the Opera Sarah Jane McMahon, soprano Company of Philadelphia, American Sarah Jane McMahon is recognized for baritone Mark Rucker has been in her beautiful vocal sophistication and demand in opera houses and on sparkling stage presence. She opened concert stages throughout the world. the New York City Opera's 2008 spring Mr. Rucker made his Metropolitan season in Purcell's King Arthur and Opera debut as Amonasro in Aida and was lauded for her “silvery-voiced has since been heard in the house as Don Carlo in La forza del soprano” and “real star presence.” In destino, Tonio in I pagliacci, and as Rigoletto for the Met in the 2007, she performed Mabel in a new production of The Pirates Parks. He made his European debut as Alfio and Tonio for Opera of Penzance with the same company and was described by The de Nice, and has continued his European career with perform- New York Times as a “deft comic actress with perfectly turned ances as Alfio at the Vienna State Opera, Amonasro in Aida for cartwheels” as well as earning praise for her vocal polish and the Staatsoper Unter den Linden in Berlin with Fabio Luisi, flexibility. Sarah Jane made her debut with the New York City made his Italian debut as Rigoletto with Daniele Gatti at the Opera as Galatea in Handel's Acis and Galatea. The New York Teatro Communale in Bologna, and his debut at the Arena di Times described her as “bright, active, and fastidiously musical,” Verona as Amonasro. •

40 MAHALIA JACKSON THEATRE FOR THE PERFORMING ARTS JANUARY 2009