BAM 30th Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President The Loves Joseph V. Melillo, Executive Producer of Pharaoh BAM Harvey Theater Oct 18—20, 2012 at 7:30pm Approximate running time: 100 minutes, no intermission Directed by Ernst Lubitsch Numinous Composition by Joseph C. Phillips Jr. Co-produced by BAMcinématek BAM 30th Next Wave Festival sponsor Steinberg Screen at the BAM Harvey Theater is made possible by The Joseph S. and Diane H. Steinberg Charitable Trust Leadership support for the BAM music and film initiative provided by The Peter Jay Sharp Foundation The Loves of Pharaoh Lost for 80 years, The Loves of Pharaoh (1922) the award-winning restoration of Fritz Lang’s is the last film Ernst Lubitsch made in his Metropolis—directed Pharaoh’s painstaking native Germany before heading across the digital restoration, a process that lasted over Atlantic to Hollywood. Set in ancient Egypt, five years and was based on film sources from this monumental super-spectacle features lavish archives all over the world: a 35mm nitrate print sets and costumes, and a cast of thousands. from the German Federal Archives and an Ital- Emil Jannings, the biggest German film actor of ian nitrate print housed at the George Eastman the era and winner of the first Academy Award House in Rochester, as well as titles and odds for Best Actor, stars as the brutal pharaoh and ends found at the Munich Film Museum. Amenes who leads his country into war for the love of a Greek slave girl (Dagny Servaes) The premiere of this stunning restoration is despite being set to marry the daughter of an accompanied by a new score by Brooklyn-based Ethiopian king. composer Joseph C. Phillips Jr.—whose provoca- tive, genre-bending work combines avant-garde, Although allegedly made to prove to Tinseltown classical, and jazz—performed live by Numi- that he could helm large-scale entertainments, nous, his 18-piece ensemble. The Loves of Pharaoh is not Lubitsch’s first costume drama; his previous films included The Loves of Pharaoh also marks the premiere Madame Du Barry and Anna Boleyn, which of the BAM Harvey Theater’s new Steinberg established his penchant for historical subjects Screen, which will present large-scale films in an paired with frothy romance, later perfected in elegant amphitheater setting. The 35-by-19-foot talkies such as Trouble in Paradise. screen is outfitted for 3-D and alternate content presentations, and the theater’s sound system Thomas Bakels of the Munich-based post-pro- has been upgraded to provide a high quality duction facility ALPHA-OMEGA—which helmed cinema experience. Restoration CREDITS Reconstruction: Filmmuseum München, Bundesarchiv Filmarchiv Source material: Bundesarchiv Filmarchiv, Filmmuseum München, George Eastman House (Roberto Pallme Collection) Film digitization and digital image restoration: ALPHA-OMEGA digital München Archive materials: Akademie der Künste, Berlin Photos: British Film Institute, Bundesarchiv Filmarchiv, Deutsches Filminstitut, Deutsche Kinemathek, Filmmuseum München We are especially grateful to the following individuals for their substantial contribution: Enno Patalas Paolo Cherchi-Usai The Loves of Pharaoh Photo: ALPHA-OMEGA THE LOVES OF PHARAOH (1922) Directed by Ernst Lubitsch Written by Norbert Falk, Hanns Kräly Cinematography by Alfred Hansen, Theodor Sparkuhl Art direction by Kurt Richter, Ernst Stern Costume design by Ali Hubert, Ernö Metzner, Ernst Stern CAST Pharaoh Amenes Emil Jannings Ramphis Harry Liedtke Menon Paul Biensfeldt Samlak Paul Wegener Oberpriester Friedrich Kühne Makeda Lyda Salmonova Sotis Albert Bassermann Theonis Dagny Servaes PRODUCTION Companies DISTRIBUTORS Ernst Lubitsch-Film (co-production) Europäische Film-Allianz Europäische Film-Allianz (co-production) (1921, Germany, theatrical) Alpha-Omega Digital (2011, worldwide, all media, restored version) Paramount Pictures Who’s Who NUMINOUS is a flexible and unique ensemble as a true talent. He successfully transitioned to founded in 2000 by composer Joseph C. Phillips films with sound, making memorable musicals Jr. to perform his music. Part chamber orches- including The Love Parade (1929) with Maurice tra, part big band, part contemporary alternative Chevalier. His oeuvre thrived from the combina- group, Numinous deftly and organically trans- tion of the pre-code and Depression era desires for mutes inspiration from contemporary classical, escapism in vehicles such as Trouble in Paradise jazz, world, and popular music as well as cinema, (1932) and The Merry Widow (1934). He ran literature, and science. Through its numerous per- production at Paramount for a year, later produc- formances, two critically well-received recordings, ing studio gems such as Ninotchka (1939) and including Vipassana in 2009 on Innova Records, Heaven Can Wait (1943) and garnering a lifetime and plans for a new recording on New Amster- achivement Oscar in 1947 before succumbing to dam Records, Numinous reflects Phillips’ musical a heart attack. philosophy of mixed music, a fusion of artistic THOMAS BAKELS (film restorer) is the founder of and cultural influences into one distinctive vision ALPHA-OMEGA digital GmbH, a post-production and style. Numinous and Phillips’ music generate facility based in Munich, Germany, specializing in emotions that resonate with beauty, mystery, film restoration. Bakels has overseen such pres- and wonder in order to challenge, enlighten, and tigious projects as the restoration of Fritz Lang’s refresh. numinousmusic.com dystopian sci-fi epic Metropolis and, most recently, JOSEPH C. PHILLIPS JR. (composer and con- Ernst Lubitsch’s The Loves of Pharaoh. ductor) has been awarded a Meet the Composers TOM BECKHAM (vibraphone) was born in 1968 grant, an American Music Center CAP grant, in Maryland and graduated from Boston’s Berklee and two Live Music for Dance commission grants. College of Music in 1990, where he studied with He was also a finalist for the Sundance Film Com- Gary Burton, Ed Saindon, Hal Crook, and others. posers Lab Fellowship and the Opera Company of As a bandleader and composer he has released Philadelphia’s composer-in-residence. In addition three CDs to date: Suspicions (Fresh Sound New to worldwide performances of his works, includ- Talent, 1999), Center Songs (Sunnyside, 2006), ing the 2003 Steve Reich Festival at the Royal and Rebound (2008). Critics and fans have Conservatory in The Hague, Netherlands, new taken note, describing Beckham as “...a superior works have been commissioned by BAM for the conceptualist” (AMG), playing the instrument with Next Wave Festival, the Ecstatic Music Festival, “...a full range of expression” (Baltimore Maga- Simone Dinnerstein’s Neighborhood Classics zine), and whose work “has a sound all its own” concert series, the Festival of New Trumpet Music, (Rhapsody.com). As a versatile sideman for more the St. Olaf College Band and Jazz Band, the than 20 years, Beckham has appeared in a host University of Maryland Wind Ensemble, Delirious of musical settings, performing and recording with Dance Company, Take Dance Company, Maffei Brad Shepik, George Schuller, the JC Sanford Jazz Dance Company, and a number of other musicians Orchestra, PULSE, Numinous, the Boston Modern and ensembles. Phillips is the founder and artistic Orchestra Project (BMOP), and many others. director of the composer federation Pulse and He has performed at the JVC New York, Zurich, teaches kindergarten music at the renowned PS Rochester, and Jazz Improv New York festivals; 321 in Brooklyn. Carnegie Hall; the Hammerstein Ballroom; and ERNST LUBITSCH (film director) was born in others. tombeckham.net Berlin on January 29, 1892 into a family in MICHAEL Blanco (bass) is an acoustic and clothing manufacturing. He began a life in show electric bassist and composer. He is a two-time business as a member of Max Reinhardt’s theater recipient of the ASCAP Foundation Young Jazz company, and appeared in silent comedies pro- Composer Award. His debut album, In The Morn- duced by Bioscop in Berlin, going on to write and ing, was released in 2006 on the Fresh Sound/ direct films under the renowned UFA studio. After New Talent jazz label, and his second album of Carmen (1918) and The Loves of Pharaoh (1922) original music is scheduled for release in 2013. became hits, he went to Hollywood where movies Blanco has twice been selected by the US Depart- such as The Marriage Circle (1924) and Lady ment of State to be an artistic representative for Windermere’s Fan (1925) assured his reputation the US abroad; he toured South America, Central Who’s Who America, and the Caribbean as part of the Ken- Hollenbeck, Darcy James Argue, and Ed Palermo, nedy Center’s Jazz Ambassador program, then and has recorded and performed with legends like toured the Middle East under the auspices of Jazz Bob Berg, Michael Brecker, and David Liebman. at Lincoln Center. blancobass.com. His multi-instrumental CD Crossing (Nineteen- JOSE DAVIla (tuba) is a versatile New York- Eight Records) has received critical acclaim for based tuba player and trombonist, whose work its varied and expansive compositions and was spans a broad spectrum of musical genres, nominated as a top 10 debut album of 2011 by from traditional to cutting-edge jazz, to salsa the Jazz Journalists Association. benkono.com and classical music. He is currently a member HANNAH LEVINSON (viola) is a violist commit- of Henry Threadgill’s Zooid and bands led by ted to performing music written in the past 50 guitarist Liberty Ellman and alto saxophonist Steve years. She has worked with such composers as Lehman. His playing can also be heard on the Christian Wolff, Jason Eckardt, and Mohammed Grammy-nominated salsa recording Un Gran Dia Fairouz, and performs regularly with Ensemble en el Barrio by the Spanish Harlem Orchestra Moto Perpetuo and the Mimesis Ensemble. Based and Remembranzas and Siguendo la Tradicion in New York City, Levinson has played at venues by Soneros del Barrio.