Apri l 2002 2002 Spring Season
Dennis Oppenheim, Theme for a Major Hit, 197 4
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Contents • April 2002 Offensive Moves 10 Israel's Batsheva Dance Company adapts Peter Handke's play Offending the Audience; April 30- May 4, at BAM . By Mindy A/off
I, Claudio 1 2 Naharin's Virus. Photo by Gadi Dagon This month, BAM features a triumvirate of operas by Claudio Monteverd i. By Judith Malafronte Program 17 Upcoming Events 42
BAMdirectory 54 Orfeo. Photo by Liz Lauren
Dennis Oppenheim's oeuvre eludes categorization, encompassing a variety of media-using the environment, the body, even pyrotechnics; creating mechanical, kinetic constructions; and recently, mounting large-scale public art. "Theme for a Major Hit," a 1974 installation comprising a spotlit, motor-driven, dancing marionette accompanied by a song written by Oppenheim ("It ain't what you make, it's what makes you do it"), implicates the body and the self, albeit a step back and sideways. Dennis Oppenheim was born in 1938 in Electric City, WA (near Grand Coulee Dam, on which his father worked), and currently lives and works in New York City. He received a BFA from the School of Arts and Crafts (Oakland, CA) and an MFA from Stanford University (Palo Alto, CAl. He has had numerous solo exhibitions Dennis Oppenheim internationally, including shows at the Stedelijk Museum, Amsterdam; Theme for a Major Hit, 197 4 Kunsthalle Basel; Tel Aviv Museum; San Francisco Museum of Modern Art; Motor-driven marionette Institute for Contemporary Art, Long Island City, NY; Corcoran Gallery of Art, consisting of 18' high figure, Washington, D.C.; recently, at the Irish Museum of Modern Art, Dublin; and ceiling-mounted motor, string, Ludwig Forum, Aachen, Germany. The many group exhibitions in which his wood, cloth, felt. Sound track: work has been included have taken place at venues such as The Whitney tape player, speakers. Museum of American Art, NYC; the sao Paulo Biennale, Brazil; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Los Angeles; Rijksmuseum Sound track: "It ain't whal you Kroller-Muller, Otterlo, Holland; Museum of Modern Art, NYC; and Museum of make, it's what makes you do it" Contemporary Art, San Francisco. Commissioned works are located throughout the world in cities such as Buenos Aires, Argentina; Vilnius, Lithuania; For BAMart information, contact: Valladolid, Spain; Seoul, South Korea; to name a few, and in locations across Deborah Bowie at the U.S. Books and catalogues on Oppenheim have been published by such 718.636.4138 or noted art historians as Germano Celant, Thomas McEvilley, and Barbara Rose. [email protected] Oppenheim's works reside in over 150 public collections around the world.
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Please call for a private product demonstration at 11th Ave. your home or office. and 54th Street Free Indoor Customer Parking 2nd Floor Free Service Pick-Up and Delivery From Your (212) 459-9400 Manhattan Home or Office www.manhattanauto.com Israeli choreographer Ohad Soft-spoken, ruggedly handsome, thoughtful to the point of reticence, the dancer and choreographer Naharin brings his Batsheva Ohad Naharin studied a page of curses in New Dance Company to BAM's York this past February, wondering if he should tone some of them down. In the aftermath of the Howard Gi lman Opera House World Trade Center's destruction, perhaps New (April 30-May 4) with an York wasn't ready to be insulted by the avant-garde, albeit in language of the 1960s. This kind of sen adaptation of Peter Handke's sitivity to a local audience is typical of what has made Naharin, artistic director of Batsheva Dance play Offending the Audience. Company, a figure of adulation in his native Israel. By Mindy A/off It has been a year since the world premiere in Israel of Naharin's Virus, the choreographer's in ternationally acclaimed 75-minute spectacle of dance and theater whose ironic vision of peace contains spoken excerpts (the curses among them) from Offending the Audience, a play by the Austrian writer Peter Handke. The Handke piece is a cult classic from 1966 that sets out to ac complish exactly what its title portends.
Naharin has fashioned the piece as a fiercely wrought demonstration of personal disagreement with Israeli governmental policies, which, he be lieves, savagely discriminate against the Palestin ian people. The play itself was written du ring the Vietnam War and the Palestinian uprisings of the mid-1960s as a sort of excoriation of war and the
Naharin's Virus by Batsheva Dance Company. complacency that prepares one to accept war un Photo by Gadi Dagon thinkingly. Naharin has juxtaposed an actor read-
10 continued on page 22
I Cla11dio '
A trio of Claudio Monteverdi's How's this for a story idea: a guitar-playing hunk goes through hell to win back his lost Jove7 Or 17th-century operas, in stunningly how about a plot involving the ta le of a woman varied productions, proves to BAM who fights off the advances of rich men beca use she is still in love with her husband, a soldier, audiences this month that the art missing in action for 20 years? Is a saga of sex form's roots offer rich rewards. and politics, adultery and its conseq uences, contemporary enough? By Judith Malafronte These are not Hollywood pitches. They are the plotlines of the three surviving operas by Claudio Monteverdi , one of the northern Ita lian composers whose experiments with theatrical forms more than 400 years ago led to the bi rth of opera.
When Orfeo , II Ritorno d'Uiisse in Patria , and L'lncoronazione di Poppea come to BAM this month, produced, respectively, by Chicago Opera Theater, the Aix-en-Provence Festival , and the Dutch National Opera, audiences will have a rare chance to listen to all three Monteverdi works in close proximity. The trio has been presented si L'lncoronazione di Poppea. Photo by Marco Borggreve multaneously before: In the 1970s director Jean-
12 continued on page 24 ANCIENT AIRS AND DANCES CHIAROSCURO CIRCLE OF FIFTHS CONCERTO IN FIVE MOVEMENTS CORRELAZIONE HARMONIELEHRE HERMAN SCHMERMAN versary JEU DE CARTES MERCURIAL MANOEUVRES / PRISM RED ANGELS Come experience the innovation and e citement of this REUNIONS LA STRAVAGANZA season-long retrospecti e celeb a ng one of the most THEM lWOS VIOLA ALONE
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Spring 2002 Repertory Season April 30 through June .)0 New York State Thrutrr at Lin!'oln Center, 63rd Street and Columbus Avt:noH', New Yo rk, New York
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Spring Season sponsor: Leadership support for the The Monteverdi Cycle has been made BAM Spring Season: possible by: PHILIP MORRIS The Andrew W. Mellon Foundation The Peter Jay Sharp Foundation COMPANIES I NC. Richard B. Fisher & Jeanne Donovan Fisher Alberto Vilar, Honorary Chairman, The Fan Fox and Leslie R. Samuels BAM Opera Foundation, Inc. Programming in the BAM Howard Gilman The Starr Foundation Poppea is made possible by a grant from Opera House is supported and endowed The Shubert Foundation, Inc. the Netherlands Culture Fund, the program by The Howard Gilman Foundation. The Norman & Rosita Winston set up by the Ministries of Foreign Affairs Foundation, Inc. and Education, Culture & Science to Programming in the BAM Harvey Theater The Gladys Krieble Delmas Foundation strengthen the Netherlands' international is supported and endowed by the Doris The Horace W. Goldsmith Foundation cultural relations. Duke Charitable Foundation. Spring Season supporters: BAM Theater sponsors: . MO-No Brooklyn Borough President Marty Markowitz Buitenlandse Zaken AOL Time Warner Brooklyn Delegation of the New York I City Council f New York City Department of C) Fleet Cultural Affairs . OCtnW Mini.tu.ork van Onderwijs - Cultuur en WelenschapJM'n New York State Council on the Arts ... Leadership support for BAM French Senator Roy M. Goodman programs: Forest City Ratner Companies Leadership support for BAM Dance: The SHS Foundation The Harkness Foundation for Dance The Florence Gould Foundation ~ The lsak and Rose Weinman Foundation, Inc. with major support from: JPMorgan Chase The Joyce Mertz-Gilmore Foundation DanceAfrica sponsor: Credit Lyonnais The BAM presentation of Naharin's Virus Morgan Stanley is made possible with public funds from AT&T Anne H. Bass lhe New York-Israel Cullural Cooperation The Ambrose Monell Foundation Commission, a joint venture of the State The Samuel I. Newhouse Foundation of New York, George E. Pataki-Governor, Community development programs at Francena T. Harrison Foundation Trust and the state of Israel. BAM are made possible through a The Robert W. Wilson Foundation, Inc. special grant from The Barbre Osher Pro Suecia Foundation BAM Dance sponsor: The Heimbold Foundation HSBCID The Harold and Mimi Steinberg Charitable Trust Major support for BAMcafe Live French BAMfamily & BAMkids Film Festival Surdna Foundation, Inc.; Lily Auchincloss programming in the Lepercq Space sponsor: Foundation, Inc.; The Irene Diamond Fund is provided by The Lepercq Foundation. The Scherman Foundation, Inc.; Rose M. BAMcafe events sponsored by: Metlife Foundation Badgeley Residuary Charitable Trust; British Airways; The Eleanor Naylor Dana BAM marquee sponsor: Charitable Trust; Scandinavian Airlines; Ann and Gordon Getty Foundation; Rush conEdison Philanthropic Arts Foundation; The Vincent cffibank Additional support: Astor Foundation; Consulate General of Mary Flagler Cary Charitable Trust Official broadcast sponsor: Sweden; The Swedish Institute; Division of The Greenwalt Foundation Cultural and Scientific Affairs, Israel Ministry PJP.~rn'?,,!9 of Foreign Affairs; Office of Cultural Affairs, Baldwin is the official piano of BAM. Consulate of Israel in New York; Salomon BAMcinematek is made possible through Smith Barney; Italian Cultural Institute; www.bam.org.sponsor: the leadership support of The Joseph S. The Netherland-America Foundation; The and Diane H. Steinberg Charitable Trust. Billy Rose Foundation Inc.; The American Scandinavian Foundation BAM Rose Cinemas are named in Special thanks to: recogni tion of a major gift in honor of Additional endowment funds and gifts: Jonathan F.P. and Diana Callhorpe Rose, The Peter Jay Sharp Fund for Opera and have been generously supported by and Theater; The Andrew W. Mellon The Peter Jay Sharp Foundation, Richard Foundation; Michael Bancroft Goth B. Fisher & Jeanne Donovan Fisher, Endowed Annual Performance Fund; Bowne of New York, & HSBC Bank USA. Your tax dollars make BAM programs Lila Wallace-Reader's Digest Endowment possible through funding from: Fund for Community, Educational, and The BAM facili ty is owned by the City of Public Affairs Programs at BAM; The New York and is funded, in pa,t, with Charles and Valerie Diker Dance Endowment public funds provided through the New Fund; The William Randolph Hearst York City Department of Cultural Affairs ~ Endowment Fund for Education & Humanities with support from the Brooklyn Delegation NYSCA of the New York City Council and Brooklyn Borough President Marty Markowitz. Each season, the Brooklyn Academy of Music soars to new heights of artistic achievement - offeri ng inspiration through innovat ion, diversity and unfet tered imagination.
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• presents Naharin's Virus Batsheva Dance Company Approximate BAM Howard Gilman Opera House running time: April 30, May 2, 3 & 4, 2002 at 7:30pm 1 hour 15 An adaptation of Peter Handke's play Offending the Audience minutes with Choreographed by Ohad Naharin no intermission Original music Habib Allah Jamal, Shama Khader, Karni Postel Costume design Rakefet Levy Lighting design Bambi Musical advisor Karni Postel Sound design Frankie Lievaart Recordings Frankie Lievaart, Haim Laroz
English translation Michael Roloff Music Samuel Barber, Carlos D'Aiessio, P. Stokes , P. Parsons
Performers Eldad Ben-Sasson , Jeremy Bernheim , Caroline Boussard, Stefan Ferry, Kristin Francke , Jesper Thirup Hansen , Yoshifumi lnao, Yaniv Nagar, Gili Navot, lnbar Nemirovsky, Chisato Ohno, ltamar Sahar, Mami Shimazaki, Maya Weiser, lnbal Yaacobi , Arkadi Zaides, Noa Zouk
Batsheva's dancers collaborated in the creative process.
II HSBC Bank USA is the major sponsor for the BAM presentation of Naharin's Virus. Leadership support for BAM Dance is provided by The Harkness Foundation for Dance with major support from The Joyce Mertz-Gilmore Foundation. This program is made possible with public • funds from the New York-Israel Cultural Cooperation Commission, a joint venture of the State of New York, George E. Pataki-Governor, and the state of Israel. Additional support is provided by the Division of Cultural and Scientific Affairs, Israel Ministry of Foreign Affairs; Office of Cultural Affairs, Consulate of Israel in New York; Marilyn and Marshall Butler Foundation; Eugene and Emily Grant Family Foundation; and the Edith C. Blum Foundation. Opening night support is provided by Independence Community Foundation. 17 g, ~ u "'"' !!!!1----~~
Batsheva Dance Artistic director Ohad Naharin Company General manager, co-artistic director Naomi Bloch Fortis
Rehearsal director Yoshifumi lnao Touring producer & stage manager Iris Bovshover Tour manager Hani Alon & Claire Bayliss Company coordinator Yaniv Nagar Technica l director Roni Cohen Chief electrician Gadi Glik Technician ltzik Assulin Sound Frankie Lievaart Wardrobe Shoshi Or-Lavi Physiotherapist Hani Alon Company teacher Alexander Alexandrov Photographer Gadi Dagon International Tour Management Multi-Media Ltd.
Batsheva Dance Company is supported by the Ministry of Science, Culture and Sport, the Tel-Aviv Municipality, Mr. Robert Wei!, the Gabriel Sherover Foundation, the America-Israel Cultural Foundation, the Arison Family Foundation, the Beracha Foundation, and other prominent corporations, foundations, and individuals. Habib Allah Jamal's performance is supported by Israel National Lottery-Council for the Arts, The Rich Foundation and the Israel Ministry of Foreign Affairs; Office of Cultural Affairs.
Batsheva Dance Company and the Batsheva Ensemble are the resident com panies at the Suzan ne Della! Centre for Dance and Theater, 6 Yechiely St., Tel-Aviv 65149. Tel: 972 3 517 1471 Fax: 972 3 5160231 E-mail :dancecom@netvision. net. i I 18 About the collaboration with musician Habib open and close the show with the word Allah Jamal 'J ana'- paradise in Arabic, symbolizi ng love and the dream of peace. Habib Allah Jamal, In December 2000, during Batsheva's perfor who defines himself as a Palestinian Arab with mance tour "Batsheva-A Decade of Love," the an Israeli citizenship says: "Despite our conflict, company was scheduled to perform in Nazareth despite the pain and suffering me and my people for a mixed audience of Arabs and Jews. At the went through, I am very proud of the coopera same time, unprecedented riots started in the tion with Batsheva. I pray our encounter in art Israeli Arab sector. The ra ge and intensity of may lead to al l sorts of good encounters." these riots shook the volatile Israeli society and created a deep rift between Arabs and Jews. A note from Habib Allah Jamal
In view of the situation, the company's I established the musical group AI Majad in management decided, after careful consideration, 1993. The aim was to reconstruct the music and to send the dancers to Nazareth, in Batsheva's dance appealing primarily to those more than 60 pink bus, wrapped with the company's photos, to years of age, people devoted to it. I strengthened perform for an all-Arab audience in their local it and recreated it for this generation-the heart hall. The hope was that this step would be of the 21st century-and today I present the tra received as a gesture of peace and fraternity. ditions and customs practiced in weddings and family parties, on the way to the water spring, in Batsheva performed excerpts from Zachacha the harvested meadow, and on the battlefield. and was greeted with great enthusiasm. After the performance, Ohad Naharin conducted an The starting point of my work is the elderly open dialogue with the audience on arts and man wedged in the wheels of old age and the the political situation. As an homage to old woman recounting her young loves, smiling Batsheva, the hosts wanted to reciprocate, by with a mouth empty of teeth, re-enacting performing for Naharin and the dancers their unforgotten days, reconstructing for me the own dances, whi le the local Arab musicians songs and the debka and the folklore of bygone played folkloristic music, tel ling of love, mar times. I show this today with the instruments riage, and so on. and lyrics of ancient songs and dances, through modern staging. Naharin listened carefully; he knew he had found what he had been looking for: the perfect Ohad Naharin believes in the sacred notion of music for his new creation Naharin's Virus, an the freedom of man, demonstrated in the trust adaptation of Peter Handke's play, Offending the and collaboration between AI Majad and Audience, and not what he previously imagined Batsheva. He initiated this collaboration to be suitable, with 'Kieizmerim'-traditional between two heritages very distant from one Jewish musicians. Ohad Naharin was invited to another, between two peoples entangled in the Ramadan Festivities where he asked Habib complex ideologica l confrontations and Allah Jamal and his group to participate in his immersed in the deep social fissure between Virus by recording their music for Batsheva. Jewish and Arab societies. We both believe in peace and intimacy and everyday life, and that The musicians are composer Habib Allah Jamal; music is a shared universal language. Shama Khader-<:omposer and oud player; Shama Mazen- singer; Darawshi Farouk We believe that man is man, and with the organ; Khateeb Adnan-violin; Khateeb Anan same fi rmness we believe that two traditions tambourine; Sanna Khaled- 19 1\1 ~ h ~ ri n'c: \/i rue: On Naharin 's Virus "Handke's play is about the negation of the the "My creative process and my encounter with ater. The direct, continuous appeal to the public the public involve finding keys and passing turns the spectator's mere presence, his self them on. Imagine there is a locked room, full awareness and his act of listening- into the of treasures: wisdom, a cure for ca ncer, world main issue of the play. He glori fies the public peace, etc .... Sometimes. all you need in order but means no praise, he scorn s them-but to open that room is one little key. The differ means no offense. He contradicts himself. The ence between being inside or outside the room play empties the stage of all expectations, of all -is that little key." theatrical conventions. A space, a void is created : it is there where my creation takes place!" -Ohad Naharin -Ohad Naharin "In my solo part, I utter all sorts of voices. They sound like an animated creature, or a talking "When the head and the body succeed in merg doll, or an animal. It is without thinking I utter ing, it is a feeling second to none. It is a kind of these voices. In some way, I am .talking to ecstasy, of spiritual elevation. This is also someone, in my own language." Ohad's virus. When he talks about how the body moves, I think of life itself-movement -Chisato Ohno which stems out of weakness, out of abandon dancer, Batsheva Dance Company ment, simply letting go-let things happen." -Yael Schnell dancer, Batsheva Dance Company 20 (continued on page 37) continued from page 10 of a cluster of anemones or a school of fish.) At various points, they also scrawl words and figures on an upstage wall, the same one on which the actor, reciting the texts, is positioned in isolation. "I think the piece starts a lot of stories and doesn't finish any of them," Naharin says. "The stories are the story of love, the illusion of power, the absur dity of things. Now, as I say that, I'm finishing my sentences, which is almost wrong for it. At some point, the dancers write on a wall with chalk the letters 'P L A S T I L E N A.' It can be 'P A L E S T I N E,' if you play with it." At another point, the Hebrew word "atem"-i.e., you- is sarcastically chalked on the wall. "Israel is their country as much as ours," Naharin says, "and we are so much more alike than different." Ohad Naharin. Photo by Bruce Long All of this serves as a meditation on Handke's ing a portion of Handke's script with a vision of early ideas about the political and theatrical status humanity- now flawed, now flawless-- 22 Naharin, himself a decade younger than Handke sheva and she became a dancer and rehearsal (whom he has never met), didn't begin to study mistress with the company. (This past Christmas, dance until the age of 22, after he had complet Kajiwara died at the untimely age of 50.) ed the military service that is compulsory for na tive Israelis. (He served in an entertainment When asked what the English title Naharin's Virus, unit.) "I was a gymnast," he says. "I just liked it, refers to, Naharin says, "The 'virus' is my move and I have a very easy body, very loose. It was ment, in a way. It's not Graham: I go to the floor my gymnastics teacher who encouraged me to only to get out of it. I don't go to the floor to stay. study dance." Naharin joined Batsheva, which For three years, I've been developing a movement had been founded in 1964, in Israel, by the workshop for non-dancers- movement for healing Baronness Bethsabee (Batsheva) de Rothschild, and for pleasure, movement to become healthier a patron of Martha Graham's work. During the and to feel better. It improves a lot my under late 1960s, Graham herself came to Israel to standing and ability as a choreographer, and it af choreograph a new dance-the only choreogra fects my choreography. I do it myself 45 minutes phy she ever made for any company outside her twice a week." Over the two-year intermittent re own. "She saw something in me," Naharin says. hearsal process in which Naharin's Virus was de "She thought I was a reincarnation of Robert veloped, the dancers were asked to improvise Powell" (a Graham dancer who had committed extensively; and some structured improvisation re suicide). Graham invited Naharin to New York to mains in it, as do elements of pantomime, high perform with her company, which he did, danc energy body slamming, and a passage of classical ing in Diversion of Angels and appearing in a ballet exercises. "spear-carrier" role in Clytemnestra. Naharin likes such contradictions, in part for their While in New York, he also pursued his curiosity mutual enrichment of the whole, in part for their about classic ballet as a scholarship student at the "meaninglessness, too, as in the play." Ultimately, School of American Ballet, in 1976, where he though, what the choreographer- first and last, a studied with Stanley Williams, Richard Rapp, and dancer- most appreciates about Naharin's Virus Alexandra Danilova. In 1978 he married Mari Ka is what only a live audience, offended or not, can jiwara, a principal dancer with the Alvin Ailey discover: the "what-is-not-said." American Dance Theater, and the two of them formed the Ohad Naharin Dance Company in New Mindy A/off teaches dance history and criticism at York. But in 1990 Naharin returned to Israel with Barnard College and serves as a consultant to The Kajiwara, where he became the director of Bat- George Balanchine Foundation. Naharin's Virus by Batsheva Oance Company. Photo by Gadi Dagon 23 continued from page 12 musical gifts to bring her back from the dead. As stage director Diane Paulus puts it, "The dark of night inhabits Orfeo's soul as he embarks on a journey to realms where even hope cannot ac company him. But where is this underworld? Is it within or without?" ' Brian Dickie, COT's general director, was the mastermind behind the pairing of off-Broadway di rector Paulus, a protege of experimental director Andrei Serban, and British musicologist-conductor Jane Glover, who boasts a long resume in opera. Neither the director nor the conductor views Orfeo as a museum piece or has attempted to re-crea te a 17th-century theatrical experience. For one thing, there are no surviving costume renderings or set sketches, nor do the librettos include any stage directions. There is no authoritative and ac curate musical edition, and only a partial list of in struments used at the premiere survives. This is where Glover's scholarly background and II Ritorno d'Uiisse. Photo by Elizabeth Carecchio experience in editing 17th-century music comes Pierre Ponnelle and conductor Nikolaus Harnon into play. "Throughout rehearsals," she notes, cou rt teamed up to look at these works for the "everybody-singers, instrumentalists, production Zurich Opera, and the resulting videos document team-will contribute. Each note or chord will their approach. And in Milwaukee in late 1988, have some decision made about it. Should it be director Stephen Wadsworth presented these short or long, loud or soft, attacked or stroked, fast pieces as a visual ly and psychologica lly unified or slow? Which particular word or syllable should cycle, heightened by dou ble- and triple-casting be pointed? How and where should we deploy among a versatile young ensemble. But when ornamentation? Above al l, after making these de BAM presents the cycle, it may be the first chance cisions, how can we keep them alive? We must to attend all three in vastly different approaches. retain that very spontaneity which marked Mon teverdi's response to the text. For, ultimately, all Monteverd i's operas are intimate and personal live theater is of its moment." works, exposing the hearts and minds of ordinary humans, and bringing the emotions of mythologi II Ritorno d'Uiisse, from the 2000 Aix-en cal figures, emperors, gods, and goddesses within Provence Festival, was praised by the critics (the our grasp. There are no Gypsies, pharaohs, or London Times called it "the operatic event of the garret-dwelling poets. There are no massive year, if not more"). The public, meanwhile, was orchestras, corps de ballet, symmetrically arranged endlessly fascinated with the real-life relationship choristers, or big-name vocal heavyweights. of the opera's male and female leads (Kre~ imir Spicer and Marijana Mijanovic), he Croatian, she Orfeo had its premiere in a small room in the Serbian, compa ring them to Roberto Alagna and ducal palace at Mantua in 1607, before an invited Angela Gheorghiu, the opera world's media audience of intellectual aristocrats. The Chicago hogging couple. Opera Theater (COT) production attempts to re create the feel of a swanky gathering, with cocktail For this production, American conductor Wi lliam dresses, black-and-wh ite glamour, and cham Christie renewed his working relationship with pagne-pouring waiters. The titular hero becomes Adrian Noble of Britain's Royal Shakespeare Com a celebrity bad-boy pop singer, and when his pany. While Noble has few opera credits, the girlfriend dies suddenly, he decides to use his Shakespearean features of Ulisse are not lost on 24 the director. "In fact," he notes, "there is the same subtle yet dramatic way with the harpsichord is one mix of genres. Psychology, of course, plays a of the delights of the show." prominent role, particularly for Penelope, who has become so habituated to her role of widow that A cocktail-party Hell, an ancient Ithaca, a psycho she is utterly terrified of the reality of her hus logically empty Rome-the settings vary, but all band's return, after such a long absence. In any three operas pit the individual against the crowd, case, it's a beautiful example of psychological highlighting Orpheus' grief, Penelope's faith and subtlety- it reminds me of A Winter's Tale." resolve, or Nero's self-centered pathology. Mon teverdi was experimenting with a form of musical Intimacy and psychological subtlety are achieved expression and dramatic effect hitherto unknown. with evocative sets. The prologue establishes the How can we as spectators approach these works? tone of timelessness with a desert setting (the "Forget all you know about opera," advises Glover. stage is covered in sand), in which a naked singer "Try to imagine a time when opera didn't exist. in the role of "Human Frailty" is poked, prodded, This is a brand-new art form, being created before teased, and tormented by the forces of Time, For your eyes and ears." tune, and Love. So are the characters of Ulysses, Penelope, and their son, Telemachus, drawn from Judith Malafronte has written for Opera News, the last half of Homer's Odyssey, at the mercy of Schwann Inside, and Opus, and has sung the these elements. roles of Messaggiera, Penelope, Minerva, and Nero in various Monteverdi productions. The Dutch National Opera's L'lncoronazione di Orfeo. Photo by Liz Lauren Poppea teams stage director Pierre Audi with harpsichordist Christophe Roussel in a production that is neither ultra-contemporary like COT's Orfeo, nor timelessly mythological like Aix's U/isse. The work is basically a study of the narcissistic manipulations of the Roman emperor Nero and the vixen Poppea, resulting in the death and exile of the noble and virtuous characters, and the tri umph of the bad guys. Countertenor Jeffrey Gall, who once sang the role of the jilted lover Ottone in this production, muses on the influence of the films of Andrei Tarkovsky on Audi's concept: "The absence of any real landscape, the prominence of the elements- rock, water, fire-the isolation of the characters, the eternal suspense, this is classic Tarkovsky. Audi's Poppea is basically about claus trophobic nothingness." Lute player Stephen Stubbs, who has been with the production since its inception in 1993, adds, "The real coup de theatre is the moment when Amore II Ritorno d'U/isse in Patria, defends the sleeping Poppea against the murderous BAM Harvey Theater approach of Ottone by sending down a laser beam April 7, 8, 10, 11, 13 & 14 which turns the rock into a momentary ball of fire." Stubbs finds that the main challenge with the stag L'lncoronazione di Poppea, ing is musical coordination, because of the large BAM Howard Gilman Opera House stage space and the numerous precise and intricate April 16, 19 & 21 movements required by Audi. "But the great ad vantage of having an excellent continuo player as Orfeo, BAM Harvey Theater the musical director is that he will always know April 22, 24, 26 & 27 when not to conduct. In this case, Roussel's own 25 Brooklyn Academy of Music Brendan J. Dugan Martin F. Merll Ex-Officio MallO/}' Factor Sarah G. Miller Hon. Michael R. BlOomberg Chairman of the Board Ronald E. Feiner, Esq. Ahrin Mishan Hon. Marty Markowill Alan H. Fishman Susan Foote Jean-Marc Moriani Hon. Kate D. Levin Vice Chairman of the Boa rd Robert L. Forbes John Morning BAM Archive Chairman William 1. campbell Robert M. Greenberg Timothy u. Nye l Charles J. Hamm Evelyn Ortner Barbara B. Haws, C.A. President Rita Hillman Steven C. Parrish BAM Endowment Trust Karen Brooks Hopkins George R. Hornig David L. Ramsay, M.D., M.Ed. Chairman Secretary Dr. Edison 0. JackSOn Bruce C. Ratner Richard B. Fisher Joseph v. Melillo Mary Kantor Jonathan F.P. Rose Stanley H. Kaplan Samuel H. Scripps Vice Chairman President Emeritus James E. Kelly Danny Simmons Norman L. Peck Harvey Lichtenstein Manny Kladitis John C. Simons Members Members Dan Klores Paul Smith, D.Min. Susan L. Baker Robert J. Baker David C. Kotheimer Nora Ann Wallace Henry Christensen Ill Susan L. Baker I. Stanley Kriegel Elaine Weinstein Frank L. Coulson Jr. Norman J. Buchan Edgar A. Lampert Hon. Franklin R. Weissberg Alan H. Fishman Neil D. Chrisman Fran~ois Letaconnoux Vaughn C. Williams, Esq. Kitty C. Linder Elizabeth Holllman Henry Christensen Ill Honorary Trustees John Lipsky Nora Ann Wallace Beth Rudin DeWoody Seth Faison La urie Mallet Charles M. Diker Leonard Garment, Esq. Robert W. Donohue cathy-Ann Martine Karen Brooks Hopkins Executive Producer's Office General Management Lewis Resnick President Stonie Darling Patrick J. Scully Head Electrician, HT Joseph V. Melillo Program Coordinator Associate General Manager Bill Horton Jr. Executive Producer Shoshana Polanco Mario LaMothe Master of Properties, HT Alice Bernstein Administrative Assistant Assistant General Manager Henry Beckman Executive Vice President & Robert F. Boyd, Jr. Sara Mandel Utility Man General Manager Archive Advisor Fiscal Coordinator Alison Dabdoub Sound Engineer, HT Nancy Blechman Greg Picard Project Coordinator Ernest Southerland Vice President for Finance Education and Humanities Kristin lnciardi House Maintenance and Chief Financial Officer Suzanne Youngerman Administrative Assistant Peter Gee Director, Department of Artist Services Vice President for Operations Education and Humanities Production Mary Reilly Jeffrey Levine Lynne M.H. Hutton Colman Rupp Director of Artist Services Vice President for Marketing Assistant Director Director of Production Danielle Dybiec and Communications Joe Salvatore Don Coleman Jessica Shapiro Lynn M. Stirrup Education and Assistant Production Artist Services Vice President for Planning Humanities Manager Manager Representatives and Development Sophie Robertson Holly Drastal Project Manager Ph ilip Naude Theater Management Bob Riordan President's Office Charisse Williams Laura Steib Theater Manager Alicia Mathewson Administrative Manager Production Coordinators Betsy carroll Christine Gruder Executive Assistant Harold Lehmann Production Office Manager Associate Theater Manager Anne Polk Program Associate Administrative Assistant Sonia Clayton Alicia Dhyana House Jacqueline David Matthew Buchholz Stage Crew Humanities Associate Thomas Paulucci Leroy Houston Cinematek Manager Joel Alleyne Theater Staff Supervisors l COl}' Plowman Crew Chief Education Assistant Cyrus Similly Patrick Conlon Cinematek Assistant Steven Serafin Head Carpenter, OH BAMbus Manager Raymond W. Torres Humanities Program Timothy Fuller Cinema Intern Consultant Flyman, OH Finance and Administration James D'Adamo Katina Jackson BAM Rose Cinemas Prosrammins and Curatorial Head Electrician, OH Director of Human Resources Eli Shahar Adrienne Mancia Jack Gelbart Eric Nord Cinema Manager Film Curator at Large Electrician, OH Controller Linda Choi Florence Aimozini Howard Larson Claudette Griffith Duane Wizzard Associate Film Curator Master of Properties, OH Accounting Manager Carl Wurzbach Assistant Cinema Managers Limor Tomer Tonya Cobb Sound Engineer Michael Ka12 BAMcafe Programming Budget Manager Mary Lou Houston Cynthia Smith Jeff Winfield Danny Kapilian Projectionists Wardrobe Supervisor Payroll Manager Music Consultant James Kehoe Head Carpenter, HT 26 Tameka White Harvey Theater Alva French Elizabeth Hand Accounts Receivable Lionel Stevens Marketing Manager for Sponsorship Coordinator Bookkeeper Building Services Supervisor Electronic Media Joe Sinnott Gregoriana Isaac Rendell BlOunt Scott Sullivan Sponsorship Assistant Administrative AssistanV Angelo Borrero Marketing Associate Human Resouroes Associate Maurice Coles Esra Aysun Fiscal Unit Latasha White lsmael Colon Marketing Intern Beryl Jolly Accounts Payable Timothy Fortner Fiscal Manager ' Bookkeeper Joel isaac Ticket and Customer Services Diana Frazier Richard James G. Scott Kubovsak Robin Bowie Fiscal Administrator Receptionist and Director of Ticket and Aude Albiges Administrative Assistant Information Technologies Customer Services Fiscal Coordinator Pamela Ford Lloyd Nesbitt Robert M. Speck Human Resources Director Ticket Services Manager Membership Assistant Denese Andrade Jose Noel Vega Brandon Nguyen Administrative Assistant Telemarketing Manager Barbara Olsen Finance/Human Resources Patrick Moody Royda C. Duncan Director of Individual Gifts Assistant Technical Support Manager Ticket Services Aimeelyn Calandria Membership Manager Elizabeth Shar~ Roger Gray Assistant Manager Kozue Oshiro EmploYtee elations Silvio Niculescu Crystal Backus Individual Gifts Associate Consu tant Network Analysts Brienne Blenman Jeong-Yeun Yang Abigail Baptiste Jessica Desmond Membership Coordinator Capital Projects/Operations Brian W. Grundstrom Lisa Gonzalez Jack Dobscn Programmer/Analysts Daman Harun Director of Operations Patron Services Denise Lewis Irene Chow Joseph O'Hara Marketing and Katora Matthews Fiscal Coordinator Patron Services Manager Communications Latasha McNeil Angela Romualdez Maribel Chusan Box Office Lillian Odom Administrative Assistant Patron Services Coordinator Fred Dorso Elsie Pacella Walida Simone Bailey Treasurer Wilson Ramos Building Operations Patron Services Assistant Marsha Rosenberg Sharell Rogers Israel Moreno Director of Security First Assistant Treasurer Terri Shaw Special Events Voctor A. Jouvert Michelle Taylor Eddie Morales Levke Haas Kevin Mcloughlin Julian Tepper Security Operations Manager Special Events Manager Cha~ie Dolce Kevin Varner Daniel J. Dier Michael Hambouz Francis Destricher Building Services Assistant Ticket Services Michele St. John Assistant Treasurers Representatives Special Events Coordinators Elsie Compere Shanequa Battle Administrative Assistant Communications Sam Gordon Accountants HVAC and Repair Services Sandy Sawotka Karen Madsen Deloitte and Touche LLP Lazzaro Curato Dillttlr a Cornrrunications Ryan Pierce HVAC Supervisor Melissa Cusick Horacio Rodriguez Bookseller Angel Ovalles Senior Publicity Manager Telemarketers Shakespeare & Co. Anthony Shields Dewonnie Frederick Public Relations AssistanV Planning and Development Classical Music Consultant Courtney Harris Paul Rosenblum William Knapp Bazaar Coordinator Anne Marie Nest Molly Gross Development Assistant Security Cinema Publicity Manager Deborah Bowie Design Consultant Melvin Patterson Fateema Jones Office Assistant and Pentagram Senior Public Relations Shirley Phillips BAMart Coordinator Film Buyer Supervisors Manager Monika Wunderer Tamara McCaw Jeffrey Jacobs Kenneth Aguillera Special Projects Manager Jacobs Entertainment, Inc. Damon Armstrong Audience Development Richard Serrano Collie Dean Manager Research Manager Immigration Counsel Kila Packett Dwight Richardson Raphaele Andriuzzi Jonathan Ginsburg, Publicity Associate Senior Attendant Guards Pei-Yun Chen Fettman, Tolchin and Terrence Caldeira Susan Yung Soonmin Chong Majors, PC Maria Hernandez Publications Manager Interns Theophilus Johnson Insurance Anthony Pirrone Design Endowment Marsh USA Inc. Jose Rodriguez Eric Olson Denis Azaro Derrick Tinglin Director of Design Endowment and Legal Counsel Attendant Guards Clara Cornelius Development Director Kaufmann, Feiner, Yamin, Senior Designer 1-Hsuan Tseng Gildin & Robbins Custodial Services Camilo Rojas-Lavado Endowment Assistant Ramon Cabassa Designer Market Research Supervisor Megan Mcintire Grantwriting George Wachtel Calvin Brackett Project Manager William Lynch Audience Research Carl Cato Grants Director & Analysis Frankl in Fernandes Marketing Michaela Goldhaber Harold Heath Shana Mathur Grants Coordinator Medical Consultant Ron Rathan Director of Marketing Hsin-Yu Lin Jonathan Lorch, M.D. Winston Smith Lucinda Montgomery Grants Assistant Marketing Manager for Restaurateur Print Media Sponsorship J.A.M. Ca tering Services LLC Lourdes Douglas Sponsorship Director 27 LAN COME PARIS Dramatically firms. (visit us at lancome.com) Intensely lifts. INNOVATION RENERGIE INTENSE LIFT LIFTING, ANTI-WRINKLE AND FIRMING CREAM SPF 15 For the first time. Lancome combines lifting. firming and anti-wrinkle benefits in a high performance treatment. • Lifting : with Vegetal Protein-Lift,"' skin looks lifted, tightened. ·Firming : with ATP-Stimuline,"' skin feels energized, firmer. · Anti-Wrinkle : smoothing ingredients help diminish the appearance of surface wrinkles. • SPF 15 : protection against damaging UV rays. RESULT: Immediately. skin is visibly lifted and smoothed. With continued use. skin feels firmer, surface wrinkles are noticeably reduced. BEL I E V E IN BE AUT y· LANCOME ~ PARIS The Campaign for B~~LI The Campaign for BAM was initiated in 1992 to create Phase Two ( 1996-2000) combined operating, endow Brooklyn Academy of Music's first endowment. Phase One ment, institutional development, and building renovation (1992- 1995) established a $12 million nucleus which needs into one unified effort and achieved the endowment has provided BAM with a strong financial foundation and goal of $20 million. The continued growth of the endow supports all BAM operations through annual distribution ment is critical to the success and future of BAM. Phase of interest income. Three (2001-2005) of the Campaign is now underway with a goal of expanding the endowment to the level of $40 million. BAM sincerely thanks the many contributors who have made major gifts to the endowment effort. Endowment $1,000,000 and above The Horace W. Goldsmith $50,000 and above $10,000 and above Doris Duke Charitable Foundation Robert & Joan Catell Alta Mechanical Corp. Foundation Alex Hillman Family Kathleen & Neil Chrisman Bloomberg News Radio Emily H. Fisher Foundation Mr. & Mrs. Henry Mr. & Mrs. Norman J. Richard B. Fisher & Maxwell Family Fund in Christensen Ill Buchan Jeanne Donovan Fisher Community Funds, Inc. European American Bank Mrs. Margaret A. Conklin & The Ford Foundation Fund The Andrew W. Mellon HSBC Bank USA Mr. David Sabel to Support Collaborative Foundation Rita J. & Stanley H. Kaplan Ms. Anne Delaney Creativity Among Foundation, Inc. Beth Rudin DeWoody U.S. Artists $100,000 and above KeySpan Foundation Dwight & Ann Ellis The Howard Gilman Michael Bailkin, Marvin Mr. & Mrs. Edgar A. Lampert Gail Erickson & Christa Rice Foundation Levine, Jesse Masyr, John Lipsky & Mallory & Elizabeth Factor Philip Morris/Next Wave David Stadtmauer Zsuzsanna S. Karasz Joan Fields Forward Fund The Harkness Foundati on Evelyn & Everett Ortner Charles H. & Seena Fish Bruce C. Ratner for Dance Arthur Ross Foundation Mrs. M. Derene Frazier The Peter Jay Sharp Fund Francena T. Harrison Lindsay & Brian Shea Mr. John M.Goldsmith for Opera and Theater Performance Fund The Starr Foundation Ms. Regina M. Griffin Lila Wallace-Reader's William Randolph Hearst Jane Holzka & Mark Winther Digest Endowment Fund Endowment for $25,000 and above H. Michael Howell for Community, Education and Amanda M. Burden Mr. & Mrs. Richard Hulbert Educational, & Public Humanities Programs Gerard Conn & Carol Yorke William Kistler Affairs Programs Independence Community Brendan & Barbara Dugan Kelvin & Kathryn Kostohryz Bank Mr. & Mrs. G. Martin Fell Albert & Joan Kronick $500,000 and above Annie Leibovitz & Studio Forbes, Inc. Eric & Amala Levine Judith R. & Alan H. Leo Burnett, USA William & Mary Greve Mr. & Mrs. Eugene H. Fishman Sarah G. Miller & Foundation Luntey Michael Bancroft Goth Frank L. Coulson Mr. & Mrs. Sidney Kantor Mr. Jeffrey L. Neuman Endowed Annual The Morgan Stanley Miriam E. Katowitz & Jonathan Newcomb Performance Fund Community and Arthur J. Radin John Michael Powers Jr. Mary & Jim Ottaway Jr. Educational Fund Rosemarie & Francis J. Mr. & Mrs. David Puth in honor of Ruth J.P. Morgan & Co. Kazeroid Susan & Kanti Rai Blackburne Ottaway Incorporated Charlotte & Stanley Kriegel Mr. Roger Seasonwein Rockefeller Brothers Fund May & Samuel Rudin Ticket Assistance Fund The Silverweed Foundation Jonathan F.P. & Family Foundation W.P. McMullan & Mr. James Sollins Diana V.C. Rose Mr. & Mrs. Arne Vennema Rachel McPherson Liliane & Jose Soriano Verizon Communications Robert C. Rosenberg Barbara H. Stanton $250,000 and above The lsak and Rose The Marion Petschek Smith Nora Ann Wallace The Bohen Foundation Weinman Foundation Fund for Choreographers Terilynn & Jeff Walsh William I. Campbell & in honor of Madame Hon. Franklin R. Weissberg Charlene Magen Wei nstein Christine Wachter Lilliana Teruzzi & Judge Marylin G. The Charles & Valerie Diamond (CC) As of February 12, 2002 Diker Dance Endowment Fund The Ford Foundation Challenge In May 2000 The Ford Foundation awarded BAM a new May 2005. Most importantly, the matching funds must be $1 million grant to support the endowment campaign, to raised from new and/or increased gifts from individuals. establish a cash reserve, and to help fund the commission ing and presentation of new works by American artists. Please help BAM to achieve the matching goal by calling BAM Membership at 718.636.4194 and making a special To earn the $1 million grant from The Ford Foundation, pledge over and above your current giving to BAM . BAM must raise matching funds totaling $3 million by 30 BAM sincerely thanks its many contributors listed below whose notation (E). BAM major individual supporters are noted gifts over the past year are greatly appreciated. This listing CNS) for Next Society. Members of BAM Patron Councils are primarily recognizes support for BAM's annual operating needs identified as Chairman's Circle CCC) and Producers Council and also acknowledges endowment contributions with the (PC). $500,000 or more $50,000 or more Rose M. Badgeley Residuary The Vincent Astor Foundation Australia Council for the Arts; Accenture Charitable Trust, HSBC Bank Atlantic Monthly The Department of Foreign Edith and Frances Mulhall USA, Trustee Ava Shypula Consulting Inc. Affairs and Trade through the Achilles Memorial Fund Baldwin Piano Susan Baker & Michael Lynch Australia International AOL Time Wanner Inc. CEJ CCCJ Bowne of New York (NS) Cultural Council; The Anne H. Bass CNS) British Airways The Barker Welfare Foundation Australian Film Commission Bloomberg Radio AM 1130 The Louis Calder Foundation Mr. Harvey Bayer II Brooklyn Borough President William I. Campbell & Credit Suisse First Boston Bear Stearns & Co., Inc. Marty Markowitz Christine Wachter CEJ CNS) The Eleanor Naylor Dana Elaine Berger Brooklyn Delegation of the Robert Sterling Clarl< Foundation Charitable Trust British Council USA New York City Council Con Edison The Irene Diamond Fund, Inc. Norman J. & Terri Buchan (E) Doris Duke Charitable Credit Lyonnais Brendan & Barbara Dugan (NS) Mary Flagler Cary Foundation (E) Deutsche Bank Etant donnes, the French- Charitable Trust Richard B. Fisher & Jeanne Charles & Valerie Diker (NS) American Fund for the Mr. & Mrs. Henry Donovan Fisher (E) (NS) Dime Savings Bank of Performing Arts Christensen Ill CEJ CNS) The Howard Gilman New York, FSB Mr. & Mrs. G. Martin Fell Kenneth & Maria Cuomo Cole Foundation CEJ Fleet National Bank CE) (NS) The Aaron Copland Fund for New York City Department of The Ford Foundation Assemblyman Roger L. Green Music, Inc. Cultural Affairs French Ministry of Foreign Charles Hayden Foundation Tony & Lawrie Dean CNS) New York City Department of Affairs through AFAA and the Heckscher Foundation Ms. Anne Delaney CEJ CNS) Design and Construction Cultural Servioes of the for Children Deloitte & Touche LLP CPC) The Peter Jay Sharp French Embassy in New Vorl< The Heimbold Foundation Beth Rudin DeWoody Foundation (E) The Horace W. Goldsmith Independent Film Channel Discover General Contracting Foundation Rita J. and Stanley H. Kaplan Max & Victoria Dreyfus $100,000 or more The Francena T. Harrison Family Foundation Foundation AT&T Foundation Trust Kaufmann, Feiner, Yamin, Eastern Exterior Wall Citigroup Rita Hillman (NS) Gildin & Robbins Systems Inc. The Gladys Krieble Delmas Independence Community Dan Klores CNS) Electric Light & Power Inc. Foundation Foundation Emily Davie & Joseph S. Mallory & Elizabeth Factor (NS) Judith R. & Alan H. FIShman CNS) KeySpan Foundation Kornfeld Foundation Finlay Printing Forest City Ratner Companies The Lepercq Foundation Robin & Edgar Lampert ( NS) Flack & Kurtz Consulting The Florence Gould John Lipsky & Zsuzsanna S. James S. Marcus Foundation Engineers, LLP Foundation Karasz (E) CNS) Sarah G. Miller & Frank L. Forbes Inc. CNS) Charles J. & Irene Hamm (NS) t:Oreal USA Inc. Coulson (E) (NS) Mr. Michael Fuchs CNS) The Harkness Foundation The MAT Charitable Edward S. Moore Foundation Ann and Gordon Getty for Dance (E) Foundation (NS) National Endowment for the Arts Foundation HSBC Bank USA The Joyce Mertz-Gilmore New York Community Trust GGMC Parking, LLC JP Morgan Chase Foundation The New Yorker Goethe-lnstitut New York/ The Andrew W. Mellon Metropolitan Life Foundation The Barbro Osher Pro-Suecia German Cultural Center Foundation (E) The Ambrose Monell Foundation Foundation Goldman, Sachs & Co. MetroTech Downtown Fund Morgan Stanley The Laura Pels William T. Grant Foundation Natural Heritage Trust Samuel I. Newhouse Foundation (NS) The Green Fund Inc. Netherlands Ministry of Foundation, Inc. The Picower Foundation The Greenwall Foundation Foreign Affairs New York • Israel Cultural Mr. Bruce C. Ratner CNSJ William & Mary Greve Netherlands Ministry of Cooperation Jonathan F.P. & Diana V.C. Foundation (E) Education, Culture & Science New York Post Rose CNS) Agnes Gund & Daniel Shapiro New York State Council News Corporation May and Samuel Rudin The Helen Hotze Haas on the Arts The Edward John Noble Family Foundation, Inc. Foundation The New York Times Company Foundation The Scherman Foundation, Inc. Harmon Limited Philip Morris Companies Inc. Mary & Jim Ottaway Jr. CNS) Serge Sorokko Gallery JAM Consultan ts Inc. Rockefeller Brothers Fund (E) Qa ntas Airways Limited Surdna Foundation, Inc. JLS Industries Inc. The Rockefeller Foundation RIGA Interactive Travel Holiday Magazine JKW Foundation, Jean Stein CNS) The Fan Fox & Leslie R. The Harold and Mimi Nora Ann Wallace & Mr. William Josephson & Samuels Foundation, Inc. Steinberg Charitable Trust Jack Nusbaum (NS) Ms. Barbara Haws Mr. & Mrs. Samuel H. Scripps Bernard Venet Vaughn C. Williams CNS) Kenneth Cole Productions, Inc. The Shubert Foundation, Inc. Verizon Communications The Robert W. Wilson Andrew Klink The Starr Foundation CEJ The Joseph LeRoy & Ann C. Foundation, Inc. Irwin & Carole Lainoff CNS) Joseph and Diane Steinberg Warner Fund Estate of Martha Zalles Jean-Pierre & Rachel Lehmann Founda tion The lsak and Rose Weinman CNS) Alberto Vilar CNS) Foundation, Inc. (E) $10,000 or more The Dorothea L. Leonhardt The Norman & Rosita Winston Absolut Vodka Foundation, Inc. Foundation $25,000 or more Academy Foundation Mr. & Mrs. Fran~ois Anonymous American Airlines The Aeroflex Foundation Letaconnoux Lily Auchincloss Foundation, Inc. Arts & Business Council Phyllis & Harvey Lichtenstein Australian Consulate-General ASM Mechanical Systems CNS) 31 China Regency-850 7th Ave., b/w 54 & 55th Sts. delights including French sea bass. But if your choice is Regional Chinese cuisine featuring specialty noodle meat Argentinean rib eye will surely be satisfying. Open dishes and sushi bar. Boasts two newly redecorate Mon, Wed, Thu, and Sun 6-11 pm; Fri-Sat 6 dining rooms and private party room. Open seven pm-midnighr; closed Tue; open for Sunday brunch days II :30 am-midnight. Accepts all major credit Rosa Mexicano- 61 Columbus Ave. (212-977-7700); cards. 1063 First Ave. @ 58th St. (212-753-7407). Both The City Grill-269 Columbus Ave. @ 72nd Sr. (212- locations serving authentic regional Mexican food in an 873-9400). An Upper West Side classic serving an award-winning setting. Dinner: 5pm-12 midnight; American eclectic menu. Lunch, brunch, and dinner. Lunch: @ Columbus Ave only. Free delivery.. Empire Szechuan- 193 Columbus Ave bet 68th & 69th Conviviurn Osteria - 68 5th Ave. b/w Bergen & St. Sts. (212-496-8778); 2574 Broadway@ 97th St. (212- Marks, Brooklyn (718-857-1833). A rustic Italo Iberian 663-6004) 2642 Broadway (212-662-9404); 15 restaurant with garden dining and an extensive wine cellar Greenwich Ave. (212-691-1535); and 381 3rdAve (212- offers a romantic and warm setting with authentic 685-6215). Great Chinese and Japanese cuisine with Mediterranean food. Tty the specialty of the house: the "thumbs up" sushi at great price. Parties, catering, and banquet roasts. Steps from BAM. Open Tue-Thu 6-11 delivery all welcome. Visa, MC, Amex. Open late daily pm; Fri & Sat 5:30-11:30 pm; Sun 5:30-10 pm. 10:30 am-2 am. Hunan Park-235 Columbus Ave. (212-724-441 1); 721 Le Biarritz.-325 W. 57th Sr. (212-757-2390). Charming Columbus Ave. (212-222-6511). Simple but very country French dl!cor, cozy atmosphere. Featuring French elegant, featuring contemporary Chinese cuisine. II :30 specials: Stuffed Seafood Crepe, Boeuf Bourguignon, am-12 am Sun- Tue; II :30 am-I :00 am Wed.-Sat Cassoulet Rabbit in Red Wine, Canard a !'Orange. Fresh ll Violino Restaurant- 180 Columbus Ave. (212-873- fish daily. Casual dining; Amex, Visa, Discover, MC. 2500). Serving a mix of northern and southern Italian Lunch Mon-Fri; Dinner Mon-Sat 5-11:30 pm. specialties at reasonable prices. II :30am-12 am P.D. O'Hurleys-174 W. 72nd Sr., b/w Columbus & Mon-Sun; brunch: II am-4 pm Sat. & Sun. Broadway (212-873-1900), www.pdohurleys.com. Our Junior's Restaurant-Grand Central Terminal; 386 superb Irish, Continental, and American F.ue is served Flatbush Ave. Extension (718-852-5257). A landmark within a cozy surrow1ding. Open daily for lunch and restaurant since 1950 with Junior's cheesecake \vas voted dinner, weekend brunch, and pre-theater specials. Accepts #I by New York Magazine. It has an extensive menu, a all major credit cards. Private party room available. take-out bakery and bar. 6:30 am-12:30 am Located by the 72nd St. subway (trains I, 2, and 3). Sun.- Thurs., 6:30 am- 2 am Fri. & Sar Locanda Vini & Olii - 129 Gares Avenue, Brooklyn Jenn.ifer's-117 W 58th St.,(212-397-4256). Family (718-622-9202). Italian country cooking specializing in owned & operated, Jennifer's offers a combined variety of Tuscan cuisine and homemade pasta. lime Our says ir's a delicious Italian & American cuisine. We have been "combination of atmosphere, value service, and inventive prasied for our fresh home style dishes, cozy & relaxed fresh food." Open Tue-Thu 6-10:30 pm; Fri & Sar atmosphere. Open Mon-Fri II :30am-ll :30 pm;Sat & 6-11:30 pm; Sun 12-3 & 6-10 pm. Closed Mon. Sun 4-11:30 pm. All major credit cards accepted. Loulou Restaurant-222 DeKalb Ave., Brooklyn (718- For more information on Scagebill's local Dining Guide, 246-0633). This coastal French restaurant's dining please call Monica Pruitt, Sales Director, at (212) 476- experience is always fresh and spirited, serving up seafood 0657. 3d BIKOMh~ ~ ':.':~~ 106 Monta""' St. 2nd Fl. WINNER! 2001 TONY AWARD (between Henry & Hicks) BEST MUSICAL REVIVAL www.bikramyogabrooklyn.com "AN ABSOLUTE KNOCKOUT! " THE "HOTTEST" YOGA -John Simon, New York Magazine STUDIO IN BROOKLYN! MICHAEL CUMPSTY 41ND STREET (718)797-2100 Tues-Sat at 8, Wed & Sat at 2, Sun at 3 Call: (212) 307-4100 I (800) 755-4000 Groups of 20+: (877) 536-3437 www.42ndStreetBroadway.com * FORD CENTER, 213 W. 42ND ST. # ••• a cure for the Conunon Tratoria" - New York Times - Tktmstr: (212) 307-4100 I (800) 755-4000 Dinner Tue - Sun 6p.m. ticketmaster.com Lunch Sun 12-3 THOROUGHLY Closed Monday MODERN MILLIE 129 Gates Ave corner of Cambridge Pl. { 718) 622- 9202 The New Musical Comedy Directed by MICHAEL MAYER Groups: (212) 398-8383 1 (800) 223-7565 Tues-Sat at 8, Wed & Sat at 2, Sun at 3 www.ModernMillie.com * MARQUIS THEATRE, 1535 BROADWAY RESTAURANT 222 Dekalb Avenue "Grade: A!" -Entertainment Weekly Fort Greene URINETOWN Brooklyn,~, 11205 THE MUSICAL 718.246.0633 Mon & Wed-Sat at 8, Sat at 2, Sun at 3 & 7:30 www.loulou-restaurant.com Tickets: (212) 239-6200 Groups of 20+: (877) SDODGER urinetown.com American THE HENRY MILLER, 124 W. 43RD ST. +Red Cross ~lA~f81ll Help Can't Wait To advertise, please call Kimberly Goldberg, Sales Director, at (212) 476-0685 Please support the National Capital Chapter of the American Red Cross. Calll-800-HELP NOW ·.. ),'), Medco Plumbing Eight Mile Creek Quebec Government House Dorothy & Lewis B. Henry & Lucy Moses Fund, Inc. Cristina Enriquez-Bocobo & Remy Amerique Cullman Northern Trust Corporation (CC) Ms. Hyatt Bass (PC) Ms. Gail Furman Charles Monheim (PC) Mr. Jonathan Otto (CC) Mr. Gene Bates Mr. & Mrs. John L. Furth Roger 0. Netzer & E. Patti & Sons Inc. Alan & Leslie Bell er (PC) Gilsanz Murray Steficek, LLP Frances campbell Penguin Putnam Inc. Belrose Fire Suppression Inc. Goldstein Associates Tayla Nevo-Hacohen (E) (PC) R.G. Peterson & Ellen Flamm George E. Berger, P.E. (PC) Goodkind & O'Dea, Inc. Helen G. & Peter Norfleet (E) (CC) Ms. Susan V. Berresford (PC) Eugene and Emily Grant Sasha Cutter Nye & Antonia Pew (CC) Geoffrey c. Bible (PC) Family Foundation Timothy U. Nye (PC) John M. Powers Jr. (CC) David Bither & Elizabeth Bailey Stephen R. Greenwald & Mr. David C. Olstein Pryor Cashman Sherman & (PC) Rebecca A. Sullivan (PC) IIana Pachter Wynn (PC) t. Flynn LLP The Bloomingdale's Fund of Andrew G. Grossman (PC) Ms. Christine Pedersen Rajika & Anupam Puri (CCI the Federated Department Semone Grossman (PC) William A. Perlmuth, Esq. (PC) Ms. Dina Reis (CC) Stores Foundation H&L Electric, Inc. Mr. Ralph J. Perocier The Jerome Robbins Sallie & Martin Blumenthal (PC) Scott & Ellen Hand (PC) Barbara G. Pine (PC) Foundation, Inc. Etta Brandman, Esq. (PC) Hugh & Tiziana Hardy (PC) Diana Elzey Pinover Mr. & Mrs. David Rockefeller H.K. BrOdie, M.D. (PC) Adrienne Harris & Robert Sklar Ms. Masha Plotnitsky & The appointment of Ohad Naharin as artistic director in 1990 launched Batsheva Dance Company into a new era. Na harin assembled an intense and stimulating group of dancers and led his company to international status. In Israel, Batsheva is treasured by an enthusiastic and devoted audience. Its season is eagerly expected, and it has revolutionized the position of dance in general, making it a prominent performing art. The company captured young aud iences with works that became "cult" events, and at the same time reached beyond the traditional dance public with performances in prestigious venues. Batsheva tours extensively to Europe, Japan , Australia, the Americas, and Canada, enjoyi ng repeated visits to the worl d's leading festivals and theaters. Batsheva follows two parallel paths: its repertoire focuses on works by Ohad Naharin, while it continues to host guest choreographers, ranging from established artists such as Jirf Kylian and William Forsythe to emerging talents embarking on their careers. Batsheva Ensemble-The Junior Company, formed by Naharin in 1990, has evolved into a company with its own professional identity. The Ensemble's goals are to train the next generation of dance performers, to cultivate and educate young audiences all over Israel, and to develop original talents, from choreographers to designers. Both companies have an international make up of individually unique dancers from Israel and abroad. Dancers of both companies are encouraged to recognize their distinct creative gifts, either as performers in the company's work or as independent creators. Searching to expand the boundaries of dance, Naharin turned Batsheva into a prolific meeting point for artists of al l disciplines-composers, fi lmmakers, lighting, set, and costume designers have been associated with Batsheva in rema rkable col laborations. Ohad Naharin began his training as a dancer with the Batsheva Dance Company. He came to New York at the invitation of Martha Graham to join her company, also studying at the School of American Ballet on a scholarship, and The Juilliard School. He joined Maurice Bejar! Company in Brussels for a year, and returned to New York where he began choreographing. For ten years he performed in New York with his company, and was appointed artistic director of Batsheva in 1990. His choreography has been produced international ly by Nederlands Dans Theatre, Pittsburgh Ballet Theatre, Bal let! Frankfurt, Paris Opera Ba llet, Sydney Dance Company, Les Grands Ballets Canadiens, Cu llberg Ballet, Lyon Opera Ballet, Hubbard Street Da nce, and many others. He was awarded the Chevalier de I'Ordre des Arts et des lettres by the French government in 1998 and became an American citizen in 1991. 37 Naharin wishes his bio to read : NOTHING IS PERMANENT. He wishes to thank everybody, especially Mari. Habib Allah Jamal (composer) was born in became his first stage success. He co-wrote with 1967 in Ein Mahal village, the Galilee. As a Wim Wenders the screenplay for the critically child, he expressed interest in Asian music and acclaimed film Wings of Desire, released in folklore and was active in cultural activities 1987. Handke's other works include Sorrow throughout his youth. He formed and led groups Beyond Dreams (1972), The Weight of the of folk dancing in his own and other villages and World (1976), The Slow Return Home (1979), in the city of Nazareth, creating a link between My Year in the No-Man's Bay (1998), and On a the ancient Asian folklore and the modern era, Dark Night I Left My Silent House (1999). and connecting multitudes of youngsters to their own heritage. Today, Jamal is the leader of AI Bambi Avi Yona Bueno ("Bambi"; lighting Majad, the most popular and famous band in designer) started his career as a rock-concert the Arab sector, which performs widely in Israel lighting designer, working with leading Israeli and abroad. All the songs performed by his band artists such as Ofra Haza, Achinoam Nini, Arik are arrangements of original materials collected Einstein, Shalom Hanoch, Shlomo Artsi, meticulously from the elders of his village who Yehudit Ravits, Fortis, Rita, and Natasha. From loved him and whom he loved. 1982- 1986 Bambi resided in London , work ing for Britannia Row Productions, Pink Floyd's Peter Handke (author) was born in Griffen, lighting company. He also toured Europe with Austria, in 1942. After graduating from a catholic artists such as Mike Oldfield, The Cure, Roger seminary in 1959, he studied law at the Waters, David Gilmour, and Dizzy Gillespie. University of Graz. In 1966 he published his first Bambi has also designed for musical television novel, The Hornets, and Offending the Audience programs and video clips, working with artists 38 such as Kate Bush. Upon his return to Israel, in 1999 and the Batsheva Dance Company in Bambi designed for the theater, working with August 2001. Gesher Theatre, the ltim Ensemble, the Cameri Theatre, Habima National Theatre, and the Stefan Ferry, born in France in 1975, studied Beer Sheva Theatre. Recently he has designed at the Conservatoire National Superieur de for the opera. Bambi has won numerous Paris. In 1995 he worked with Peter van Dyck awards for his work, among them the Yair at the Werther Ensemble. Between 1995 and Shapira Fund award in 1993 and Lighting 1999 he danced at the Ballet de Monte Carlo, Designer of the Year in 1995 and 1996. Ever directed by Jean Christoph Maillot. He joined since designing for Ohad Naharin's Sinking of the Batsheva Dance Company in August 1999. the Titanic, Bambi's lighting design has become inseparable from Naharin's work in Kristin Francke was born in Norway in 1972 Israel with Batsheva Dance Company, and and studied at the State Ballet School in Oslo internationally with companies such as NDT, for three years. She worked at the Nye Carte Frankfurt Ballet, National Ballet of Spain, Blanche Company in Bergen from 1996 and Cullberg Ballet, Great Canadian, and others. joined the Batsheva Dance Company in June 1998. Rakefet Levy (costume designer), born in 1958, graduated from the Ramal Hasharon Jesper Thirup Hansern, born in Denmark in School of Fine Arts. Levy was both a student 1972, was a gymnast and gymnastics teacher, and a teacher at the Shenkar College of Design. and was involved in theater and musicals until Since 1982 she has been stage, set, and cos the age of 23. He moved to Stockholm to study tume designer for television, opera, dance, and dance at the Ballet Academy and the University film productions, both Israeli and international of Stockholm. He joined Skanes Dansteater in ly. Levy has also designed for the theater, and Malmo in 1997 and the Batsheva Dance has worked with Israeli playwright/director Company in 1998 after seeing the Company's Hanoch Levine. Since designing the costumes production of Sabotage Baby in Gothenburg. for Ohad Naharin's Arbos (1991) Levy has become a regular collaborator with Naharin. Yoshifumi lnao was born in Japan in 1975. lnao trained in Kyoto and at the Rudra Bejart Eldad Ben-Sasson was born in Israel in 1978. School in Lausanne between 1993 and 1995. Ben-Sasson graduated from the Bat-Dor School He danced at the Nye Carte Blanche in of Dance and was also trained at the Malan Norway between 1995 and 1997, and joined Center. After dancing with Jerusalem's Vertigo the Batsheva Dance Company in 1997. In Dance Company, he joined the Batsheva Ensemble in 1998 and then the Batsheva addition to being a dancer he is also a Dance Company in August 2001. rehearsal director of the company since 2000. ' Jeremy Bernheim , born in Israel in 1979, stud Yaniv Nagar, born in Israel in 1971, graduated ied dance at Bikurei Haitim Dance Center in Tel from the Telma Yellin High School for the Arts Aviv and Bat-Dor School of Dance. He joined and studied at the Bat-Dor school of dance. He • the Batsheva Ensemble in 1997 and then the joined the Ballet de Monte Carlo under the direc Batsheva Dance Company in January 2001 . tion of Jean Christophe Maillot in 1992. Nagar joined the Batsheva Dance Company in 1996. Caroline Bou ssard was born in France in 1977. She studied dance at the Conservatoire Gili Navot was born in the United States in National Superieur de Paris from 1994 to 1981. Navot studied dance at the Reut School 1999. Boussard joined the Batsheva Ensemble for the Arts and Witzo School for the Arts in 39 Haifa, before joining the Batsheva Ensemble in Maya Weiser was born in the U.S. in 1979. 1999, and the Batsheva Dance Company in Studied dance in Haifa for thirteen years. She August 2001. joined the Batsheva Ensemble in 1997 and the Batsheva Dance Company in January 2001. lnbar Nemirovsky, born in Israel in 1978, studied dance in Kiryat Chaim before join ing lnbal Yaacobi , born in Israel in 1978, studied the Junior Kibbutz Dance Company from 1996 at the Telma Yellin School of Performing Arts, to 1997. Nemirovsky danced for one year with and the Bat-Dor Studio. Yaacobi joined the the Barak Marshall Dance Company and in Batsheva Ensemble in 1996, and the Batsheva 1998 joined the Batsheva Ensem ble, and Dance Company in 1998. joined the Batsheva Dance Company in January 2002. Arkadi Zaides was born in Russia in 1979 and immigrated to Israel in 1990. Zaides majored in Chisato Ohno was born in England in 1975 Art and Dance at the Misgav High School. He and grew up in Japan and the U.S., studied at danced with the Noa Dar Dance Group before the Central School of Ballet in London, and joining the Batsheva Ensemble in 1998 and the danced with Nederlands Dans Theater II for Batsheva Dance Company in August 2001. four years. Ohno joined the Batsheva Dance Company in 1998. Noa Zouk was born in Israel in 1978 and studied dance at the Ulpana in Mizra and ltamar Sahar was born in Israel in 1978. spent a year in the Junior Kibbutz Dance Sahar studied at the Bat-Dor School of Dance Company. Zouk joined the Batsheva Ensemble and the Municipal High School of the in 1997 and the Batsheva Dance Company in Performing Arts in Tel Aviv. Between 1996 and January 2001. 1998 Sahar worked with the choreographers Anat Danieli in her creations October and Poppins, with lnbal Pinto in her creation Wrapped, and with Noa Dar in Heads in the Grass and Peeling. Sahar joined the Batsheva Ensemble in 1998 and the Batsheva Dance Company in April 2000. Mami Shimazaki, born in Tokyo in 1975, studied in Japan until the age of 16. She moved to Europe to study at the Rubra Bejar! School in Lausanne, Switzerand, and worked with the company of Micha van Hoeck in Italy and the Aalto Theater in Essen, Germany. She joined the Batsheva Dance Company in December 1998 after a year with the Batsheva Ensemble. 40 tbeatregge_r. The best of the West End: shows, celebrities and theatre news LQ N D Q N .~- Over there Now that the Broadway production s artistic director of the Donmar of The Full Monty has Warehouse, Sam Mendes has finally crossed the A a reputation for bringing Atlantic, we sneak a innovative work to London's theatre peek at some of the lovers. The Donmar's American Imports other male stage actors 2002 festival features hard-hitting new who have disrobed in plays from the US, including Kenneth the name of art. Lonergan's Lobby Hero and David ...... ·~ Auburn's Proof- which reunites Denise van Outen Gwyneth Paltrow with her Shakespeare dazzles tn Chtcago on in Love director, John Madden. both stdes of the Btg Donmar Warehouse. Pond; RSC on the move; Tel: +44 (0) 20 7369 1732 and will Pterce Brosnan star in the Stones in his Pockets ftlm? When the going gets Tartuffe 1,... . • .... Relative-· newcomer Martin Clunes has a distinguished list of TV and film Preeya Kaltdas stars credits - he starred in the British TV comedy Men as Priya, the beautiful Behaving Badly and also appeared in Shakespeare in love-struck daughter Love - but after a 12-year absence from the theatre, of a movte mogul in he says he feels he's 'starting all over again'. We talk Andrew Lloyd Webber's to Martin about his fear of retreading the boards in his production of AR latest role as the eponymous star of Moliere's Tartuffe. Rahman's new musical. Tartuffe is at the National Theatre: Lyttelton. Bombay Dreams. Tel: +44 (0) 20 7452 3000 • theatregoer magazine brings you the complete world of West End theatre the glamour and grandeur of the musicals, the plays, the people and the parties • theatregoer even gives you insight into the best places to eat and drink in London, with exclusive restaurant reviews • Seeing London theatre has never been easier ... theatregoer is pu blished in the UK in association w ith Andrew Lloyd Webber's Really Useful Group and is THE ONLY magazine dedicated to bringing yo u the very best of London's theatre! Special Introductory Offer for New US Subscribers! six issues for just $37.95 To subscribe or for more information, call our TOLL FREE NUMBER 1-888-221-4194 i;i·hMiit.lil·i?ii·iilhi.iiJiii or visit our website at www.theatrego er. net Naharin's Virus, Batsheva Dance Company Apr 30, May 2-4 An adaptation of Peter Handke's play, "Offending the Audience." Choreography by Ohad Naharin. BAMdialogue with Ohad Naharin May 2 post -performance DanceAfrica 25th Anniversary, Africa, My Africa May 24- 26 Featuring Cutumba (Cuba) at each performance, with appearances on select days by companies including Chuck Davis Dance Co. , Charles Moore Dance Theatre, Forces of Nature Dance Theatre Co. , Rennie Harris Puremovement, LaRocque Bey School of Dance, Universal African Dance and Drum Ensemble, and Creative Outlet Dance Theatre of Brooklyn. Check www.bam.org for details. BAMdialogue with Chuck Davis May 23, 6pm. Maria Stuart by Friedrich von Schiller, Royal Dramatic Theatre of Sweden Jun 12-16 Directed by lngmar Bergman, starring Lena Endre and Pernilla August Performed in Swedish with simultaneous English translation. BAMcafe Live! May 12, 2-4pm Sounds of Praise Gospel Brunch Mother's Day Celebration with Lafayette Inspirational Ensemble May 17, 9pm Spoken word slam featuring Def Poetry Jam artists. Hosted by Danny Simmons. BAMcinematek at BAM Rose De Laurentiis Double Feature Cjnemachat with Elliott Stein Cinemas features daily May 18 May 15 screenings of classic American Evil Dead 2 and Bitter Rice (Riso Amoro) and foreign films, documentaries, Army of Darkness Chat post-6: SOpm screening retrospectives, and festivals. Q&A: Bruce Campbell post-Spm show For complete details, visit Djno De Laurentjjs; www.bam.org. For weekly The Italian Years & Beyond Soyjet SEX: Films by schedules, call 718.636.4100 x2. May 2-19 Alexandr Ptushko For tickets call 718.777.FILM May 6 gala: Film Festa Honoring May 6-20 (order by "name of movie") or Dino De Laurentiis visit www. bam.org. Information: 718.636.4182 Robert Siodmak: 40's Nojr 15 films, including: May 7- 2 1 BAMcate Dinner & Movie $30 May 5 Blue Velvet Fri & Sat at the box office only Q&A: Isabella Rossellini DanceAfrica 25th Anniversary post-6:40pm show May 22- 30 Programs and showtimes subject to change. Check May 11 Serpico Black Cinema Cafe within three days of screenings Q&A; Frank Serpico post-6pm show May 1 to confirm. 42 Ci.ti.bank i.s proud to sponsor the Brooklyn Academy of Musi.c - At Ci.ti.bankJ one to take center stage. When it comes to help with your money, you're looking for a great performance, too. So stop by your local Citibank Financial Center. We'll work with you to help you meet your financial goals. With us, you're always in the spotlight. cffibank· Li.ve ri.ch1.y:- @2001Citibank Citibank, N.A., Citibank, F.S.B.. Citibank (New York State), Citibank (Nevada), N.A. Member FDIC. Citibank is a registered service mark and Live richly is a service mark of Citicorp. A member of crtiQfOUPi" SPECIAL ADVERTISING SECTION Dono r-advised fund s allow givers to steer their gifts BY ANDREW PAGE n the days before online banking and Gift Fund has grown at an unprecedented rate. 0 Internet stock trades, charitable donors It's almost like having your own private founda handed over their money and the decision tion through which money flows to earmarked on how to best spend it to large charities. non-profits (although all disbursements are The philanthropy-minded still write hefty reviewed by the mutual fund company). Last ~ checks to the Red Cross and the Cancer year, Fidelity's gift fund had a total of 30,000 Society. But now that bank funds can be trans individual accounts, which represented $1.1 bil ferred with a click of a mouse, donors want more lion in assets, making it the second-largest control over every aspect of their finances, public charity after the Salvation Army. including who exactly gets their dollars. That's one reason for the phenomenal growth SINCEREST FORM OF FLATTERY of donor-advised charitable fu nds, which allow Success breeds imitation, and other mutual an immediate tax deduction on a lump sum fund companies, such as Vanguard and Schwab, donation. Funds can then be doled out over time have broadened the definition of what a public with the convenience of a checking account. charity can be. Even American Express has gotten into the donor-advised charitable fund business. TURNING POINT Nobody would argue that new ways to give It's nothing new: The community founda money to good causes are anything but a good tions have long offered donors a say in who gets thing. But some observers are wondering if all the money kept in special accounts. But high these new donors are getting enough guidance. minimum investments and limited marketing "Commercial gift funds have brought people had kept this type of donor-advised fund out of into philanthropy who weren't there before," the mainstream . says Dot Riddings, president and CEO of the That all changed ten years ago, when Boston Council on Foundations. "But if you are based Fidelity Investments launched a new ki nd concerned about making a meani ngful grant of donor-advised fund. With a minimum invest in a local geographic location, non-profit com ment of just $10,000, aggressive advertisi ng, munity fo undations have professional staffs that and online account access, the Fidelity Chari table are on the ground to help you do that." ~ SU6181 LL/S POTli GHT Forward You've built wealth. Now you have more you want to accomplish. At The Bank of New York, we're helping individuals make the most of their wealth by helping them answer the question: What do you want to do next? Provide a head start for future generations? Realize new opportunities while knowing your wealth is being carefully managed? It's an approach that has given our clients the power to choose what comes next in their lives. And what a privilege that is. We invite you to learn more by calling Peter R. Bingenheimer at 212-408-7785. R e d e f n n g p r v 1 e g e THE BANK OF NEW YORK PRIVATE C LI ENT SE R VICES S I N CE I 7 8 4 www.bankofny.com C>2001 The Bank of N ew Yo r k M em ber FDIC SPECIAL ADVERTISING SECTION The difference is that you're interested in arts mutual fund companies in education, there are are set up to manage terrific programs in Man money effectively, and hattan, and we happen they simply don't have to fund a number of the resources to study the them. Our program offi needs of a local commu cer can take you to visit nity. While the gift funds a school or two outside do offer advice on how to evaluate a non-profit, the city that is in even greater need." and they make sure you are giving to legitimate In the end, the rise of commercial gift funds charities before releasing money, there is no has not only helped new donors to give, but has comparison with what you get at a community helped the established charities learn how to foundation. improve their levels of service. "Both sides are responding to each other," says Riddings. GIVING BACK TO THE COMM UNITY To respond to the popularity of donor To understand the difference, a bit of his advised funds, community trusts are banding tory: In the early 1900s commmunity leaders together to offer donors a wider geographic banded together to form endowments with range of expertise. Now, a single community money that had been left to their cities. As foundation can help target your donations to community trusts or community foundations the town you live in now, and the place you grew, they became a vehicle for targeting grew up. And community gift funds such as the money to local needs. Soon, additional charita Community Foundation Silicon Valley are mak ble dollars began to flow in. ing changes to offer easy online access. "The community was acting in a communal Ultimately, the choice of whether to go fashion," says Ed Beckwith, an attorney and with a commercial gift fund or a community Georgetown professor, who has observed the foundation gift fund should be based on your rise of the commercial gift funds. "If you give to philanthropic goals, which is where it all five charities a year, know what they are, and begins anyway. have no plans to change that, then the ease of use of a commercial gift fund makes sense. If Andrew Page is the executive editor of Avenue maga your philanthropic goals may change, consider zine, where he writes frequently about philanthropy. consulting with a local community foundation. "If someone has no particular interest in ADVERTISER being closely involved in their community, they might be more attracted to a commercially SPOTLIGHT sponsored charitable fund," says Beckwith. "If Get more information on the someone views their philanthropic activity as an companies featured in this section: extension of themselves, and a way to be more involved with their community, they would be Merrill Lynch drawn to a foundation." (800} MERRILL New Yorkers interested in the arts might askmerrill.ml.com consider contacting the New York Foundation for the Arts, which offers a donor-advised fund New York Foundation for the Arts (212} 366-6900, ext. 365 that earmarks money for individual artists. www.nyfa.org Larger community organizations offer a range of options. "We're here to help donors if they want The Bank of New York our help in how to make thei r money do the Kevin J. Monahan, V.P. Trust & Estate Services most good," says Bob Edgar, manager of donor (212} 408-4271 services fo r the New York Community Trust. "If SU6!Bill/SP01li6HI Art begins Like the great patrons of the past, you can make a lasting impression on the artistic heritage of your city and country by supporting creative artists. with the The New York Foundation fo r the Arts will help you tu rn your passion into action by matching your interests and values with creative people in the perform ing, visual, media, or literary arts. artist To learn more about our programs, do nor-advised fu nds, and philanthropic services, please contact Waddy Thompson, Director of Development, at (212) 366-6900, ext. 211, or at [email protected]. New York Foundation for the Arts 155 Avenue of the Americas, 14th floor New York City, New York 10013 www.nyfa.org/Donors.html From Inspiration to Art L------~ J/ Brooklyn Academy of Music is home to three separate not-for-profit performing arts institutions: Brooklyn Academy of Music, Brooklyn Philharmonic, and 651 ARTS. BAM is America's oldest performing arts center. Since 1861 it has been a focus of cultural activity in Brooklyn and New York City. After the first facility at 176- 194 Montague Street burned to the ground on the morning of November 30, 1903, plans were made to rebuild at the edge of Brooklyn's business district in the fashionable neighborhood of Fort Greene. The architectural firm of Herts and Tallant, already responsible for the New Amsterdam, Liberty, and Lyceum theaters in Manhattan, was selected to create a Beaux Arts monument for Brooklyn. The cornerstone was laid at 30 Lafayette in 1906, and a series of opening events were held in the fall of 1908, cu lminating with a grand gala evening featuring Geraldine Farrar and Enrico Caruso in a Metropolitan Opera production of Gounod's Faust. After World War II, Brooklyn Academy of Music declined as its audience moved elsewhere. Language classes and martial arts instruction were booked into performance spaces. By the time Harvey Lichtenstein was appointed director in February 1967, the programs and facilities needed revitalization. During the 32 years that Mr. Lichtenstein was at the helm, BAM experienced a complete renaissance, highlighted by the creation of the Next Wave Festival in 1983 and the BAM Majestic Theater in 1987. Upon his retirement in June 1999, the Majestic was renamed the BAM Harvey Lichtenstein Theater. The Brooklyn Philharmonic is the resident orchestra of Brooklyn Academy of Music, performing at the BAM Howard Gilman Opera House and BAM f':;.1 Harvey Theater five weekends each season. In addition, some 10,000 Brooklyn school children hear the orchestra's free educational concerts each year. Robert Spano became the orchestra's fourth music director in 1996. Under his direction the Brooklyn Philharmonic has emerged as one of New York's preeminent music ensembles and continues to discover new repertoire. Critics have consistently praised the quality of the Brooklyn Philharmonic's performances, programming, and creative concert presentations. The orchestra has presented more than 100 premieres at BAM since it was founded in 1954 by Siegfried Landau. Lukas Foss, music director from 1971- 90, is now conductor laureate. Dennis Russell Davies served as music director from 1991- 96. 651 ARTS develops, produces, and presents arts and cultural program ming grounded in the African Diaspora, with a primary focus on contem porary performing arts. 651's music, theater, humanities, and residency programs take place at the BAM Harvey Theater and many other Brooklyn venues in order to help build the arts throughout the borough. Since its found ing in 1988, 651 has showcased distinctive artists, including Abbey Lincoln, Spike Lee, Terry McMillan, Tito Puente, and Max Roach, among many others. 651 fi rst attracted national attention with its land mark festival 100 Years of Jazz and Blues, and has also proudly pre sented and produced such programs as Anna Deavere Smith's Fires in the Mirror and Donald Byrd's The Harlem Nutcracker. Photos (top to bottom): current BAM facility ca. 1920, Haward Gilman Opera House interior, the BAM Harvey Theater, Robert Spano by Michael Darter, Donald Byrd's Jazz Train by Julie Lemberger 48 II R/GA A PROUD SUPPORTER OF THE BROOKLYN ACADEMY OF MUSIC. RIGA MEDIA CROUP 350 W. 39TH ST. NEW YORK, NY 10018 tel 212.946.4000 fax 212.946.4010 www.rga.com HSBC ID Issued by HSBC Bank USA © HSBC Bank USA 2002 BAM Ticket Services BAM Box Office BAM cafe Headphones 718.636.4100 Hours Performances and BAM offers infra-red General information, M- S: 12noon- 6pm hours of operation listening devices for single ticket and Sun: open on perform- 718.636.4100 the hearing impaired; subscription sales ance days only from please inquire at the 12noon-4pm Restrooms coat check room. Ticketmaster BAM Howard Gilman 212.307.4100 Advance ticket sales Opera House: Administrative Offices Single ticket sales stop one hour prior mezzanine and balcony 718.636.4111 to curtain. level- Handicapped Group Sales accessible: orchestra BAM Patron Services For ticket orders of BAM Harvey Theater level and BAMcafe 718.636.4182 20 or more box office opens 90 BAM Harvey Theater: 2 12.398.8383 minutes prior to curtain lobby and gallery level Lost & Found 800.223.7565 on performance days. 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In the event of punishable by law. member of the League the possession of any fire or other emer -Fire Commissioner of Historic American device for such inside gency, please WALK Backstage and front Theaters and an affiliate this theater, without TO THAT EXIT, FOL of house employees member of the League written permission of LOWING THE DIREC are represented by the of American Theaters the management, is TIVES OF THE HOUSE International Alliance and Producers. prohibited by law. STAFF. Thoughtless of Theatrical Violators may be pun persons annoy patrons Freight Transportation is Stage t3h. ished by ejection and and endanger the provided by Schenker Employees safety of others by 54 Because your job doesn't have intermission. digital two-way radio feature. It saves you time and money because it doesn I chew up all ofyour cel/minwes. And it lets you get right through to the right people insta/11/y. 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Tt•• c ·C""I"~ ,.~,~~~eo~ •!• '> Brooklyn Academy of Music Alan H. Fishman Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer Department of Education and Humanities presents Naharin's Virus Batsheva Da nee Company An adaptation of Peter Handke's play "Offending the Audience" Running time: Choreographed by Ohad Naharin approximately 75 minutes, Original Music Habib Alia Jamal, Shama Khader, Karni Postel no intermission. Costume design Rakefet Levy Lighting design Bambi Musical advisor Karni Postel Sound design Frankie Lievaart Recordings Frankie Llevaart, Haim laroz English Translation Michael Roloff Music Samuel Barber, Carlos D'Aiessio, P. Stokes, P. Parsons Performed by: Eldad Ben-Sasson, Jeremy Bernheim, Caroline Boussard, Stefan Ferry, Kristin Francke, Jesper Thirup Hansen, Yoshifumi lnao, Yaniv Nagar, Gili Navot, lnbar Nemirovsky, Chrisato Ohno, ltamar Sahar, Mami Shimazaki, Maya Weiser, lnbal Yaacobi, Arkadi Zaides, Noa Zouk Batsheva's dancers collaborated in the creative process. This program is made possible with public funds from the New York-Israel Cultural Cooperation Commission with additional support from the Division a Cultural and Scientific Affairs, Israel Ministry of Foreign Affairs; Office a Cultural Affairs, Consulate a Israel in New York. Leadership suport for BAM Dance is provided by The Harkness Foundation for Dance. Major support is provided by HSBC Bank USA. The use of cameras, video cameras, and tape recorders in the theater is strictly forbidden. Any digital equipment, such as mobile phones, pagers, and watch alarms, should be turned off. Batsheva Dance Company The appointment of Ohad Naharin as artistic director in 1990 launched Batsheva Dance Company into a new era . Naharin assembled an intense and stimulating group of dancers and led his company to international status. In Israel, Batsheva is treasured by an enthusiastic and devoted audience. Its season is eager1y expected, and it has revolutionized the position of dance in general, making it a prominent performing art. The company captured young audiences with works that became "cult'' events, and at the same time reached beyond the traditional dance public with performances in prestigious venues. Batsheva tours extensively to Europe, Japan, Australia, the Americas, and Canada, enjoying repeated visits to the world's leading festivals and theaters. Batsheva follows two parallel paths: its repertoire focuses on works by Ohad Naharin, while it continues to host guest choreographers, ranging from established artists such as Jirf Kylfan and William Forsythe to emerging talents embarking on their careers. Batsheva Ensemble-The Junior Company, formed by Naharin in 1990, has evolved into a company with its own professional identity. The Ensemble's goals are to train the next generation of dance performers, to cultivate and educate young audiences all over Israel, and to develop original talents, from choreographers to designers. Both companies have an international make up of individually unique dancers from Israel and abroad. Dancers of both companies are encouraged to recognize their distinct creative gifts, either as performers in the company's work or as independent creators. Searching to expand the boundaries of dance, Naharin turned Batsheva into a prolific meeting point for artists of all disciplines-<::omposers, filmmakers, lighting, set, and costume designers have been associated with Batsheva in remarkable collaborations. Ohad Naharin began his training as a dancer with the Batsheva Dance Company. He came to New York at the invitation of Martha Graham to join her company, also studying at the School of American Ballet on a scholarship, and The Juilliard School. He joined Maurice Bejart Company in Brussels for a year, and returned to New York where he began choreographing. For ten years, he performed in New York with his company, and was appointed artistic director of Batsheva in 1990. His choreography has been produced internationally by Neder1ands Dans Theatre, Pittsburgh Ballet Theatre, Ballett Frankfurt, Paris Opera Ballet, Sydney Dance Company, Les Grands Ballets Canadiens, Cullberg Ballet, Lyon Opera Ballet, Hubbard Street Dance, and many others. He was awarded the "Chevalier de I'Ordre des Arts et des lettres" by the French government in 1998, and became an American citizen in 1991. q,O) GenBAM Uprnming E\JPnt' Dance Rome & Jewels Rennie Harris Puremovement May 14 & 15 at 10:30 BAM Harvey Theater Tickets: $8 (one free ticket with every 15 tickets purchased) Film Screening the American Dream Film Series Do The Right Thing Directed by Spike Lee, with Spike Lee, Danny Aiello, Ossie Davis and Ruby Dee Friday, May 17 at 10:30 BAM Rose Cinemas Tickets: $5. $4 if purchasing more than one film (one free ticket with every 15 tickets purchased) For reservations, please call BAM Education & Humanities at 718.636.4130 xl. About BAM Department of Education & Humanities BAM Education & Humanities is dedicated to bringing the most vibrant, exciting artists and their creations to young people and their families. The Department presents performances and screenings of theater, dance, music, opera, and film in a variety of programs: Generation BAM for high school students, kaBAM (Kids at BAM) for second to ninth graders, BAMfamlly, the BAMklds Film Festival, and Screening the American Dream. In addition to the work on stage, programs take place both in school and at BAM that give context for the performances, and include workshops with artists and BAM staff members, stucly guides, and classes in art forms that young people may never have had access to before. These programs include Shakespeare Teaches, the Tradici6nes y Futuras Music Program, Dancing into the Future (with Chuck Davis, David Dorfman, and others), and The Young Critics Institute. In addition, the Department collaborates with the Bedford Stuyvesant Restoration Corporation to provide an arts and humanities curriculum to students who create an African Sculpture Garden at BAM and perform on stage in BAM's DanceAfrica program. The Department produces programs surrounding the Next Wave Festival and BAM Spring Season, including the BAMdialogue series and symposia, which join BAM artists in discussion with the community. For more information about our programs, please call 718.636.4130 xl. Brooklyn Academy of Music, Department of Education and Humanities, 30 Lafayette Avenue, Brooklyn, NY 11217-1486, 718.636.4130 Major Education Supporters: Lila Wallace-Reader's Digest Endowment Fund for Community, Educational, and Public Affairs Programs at BAM; New York City Department of Cultural Affairs; New York State Council on the Arts; New York State Assembly Brooklyn Delegation; The William Randolph Hearst Endowment Fund for Education and Humanities; Edith and Frances Mulhall Achilles Memorial Fund; James Ottaway, Jr; The Joseph S. and Diane H. Steinberg Charitable Trust; The Joseph LeRoy and Ann C. Warner Fund, Inc.; May and Samuel Rudin Family Foundation, Inc. ; KeySpan Foundation; The Louis Calder Foundation; · Independence Community Foundation; Verizon Foundation; The Morgan Stanley Community and Educational Fund; Con Edison; The J.P. Morgan Chase Foundation; The Emily Davie and JosephS. Komfeld Foundation; Pfizer, Inc.; Metlife Foundation; Credit Suisse First Boston; The Rita J. and Stanley H. Kaplan Family Foundation, Inc.; The Dime Savings Bank of New York, FSB; Assemblyman Roger Green; The Picower Foundation; Edward S. Moore Foundation, Inc; Edward John Noble Foundation, Inc.; The William and Mary Greve Foundation, Inc.; The New York Times Company Foundation; Michael Tuch Foundation Inc.; Axe-Houghton Foundation; Helena Rubinstein Foundation, Inc.; Roy M. Goodman; Academy Foundation of the Academy of Motion Picture Arts and Sciences; The Barker Welfare Foundation; The Simon H. Rifkind Center for the Humanities and the Arts at the City College of New York; The Silverweed Foundation; Bear Stearns & Co. Inc.; William T. Grant Foundation; The Metro Tech Downtown Fund; New York Stock Exchange, Inc.; Seth Sprague Educational and Charitable Foundation The BAM facility is owned by the City of New York and is funded, in part, with public funds provided through the New York City Department of Cultural Affairs with support from the Brooklyn Delegation of the New York City Council and Brooklyn (;t 0r~ President Marty Markowitz.