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/// PROGRAM BOOK 2 of 4

Nov 16 | BrooklyN rider

201 S. Estes Drive | Chapel Hill, NC | Free WiFi

OvEr 50 lOCally OWNED SHOpS, NatiONal braNDS & rEStauraNtS

plus Southern Season, Dillards, Harris teeter, Chapel Hill Farmers Market.

(919) 945-1900 | |

The University of North Carolina lost a great man with the passing of William C. Friday, whose tenure over three decades as UNC president has been rightly celebrated as a turning point for higher education. We were honored that his memorial service was held in Memorial Hall, and we join with many others in expressing our profound gratitude for his distinguished and selfless service. Bill and Ida Fridays great love for the arts had been passed on to their daughters, and we are fortunate that Mary Friday leadbetter recently joined our National Advisory Board. We look forward to her guidance and involvement in the years ahead. Our 12/13 season, featuring The Rite of Spring at 100 (Rite 100) is now fully underway. There have been no riots in Memorial Hall yet, but we are electrifying and exciting our audiences just the same. In September, The Silk road ensemble with yo-yo Ma launched our season with the world premiere of Dmitri Yanov-Yanovskys Sacred Signs, a colorful and richly textured 10-part work inspired by Stravinskys experimental rhythmic and tonal structures. There are 10 more CPA-commissioned Rite 100 works to come, so be ready for more thrilling discoveries in the months ahead. We are especially gratified by your enthusiastic response to the newly commissioned works we are presenting this season, the hallmark of our distinctive program. Being the first to experience a new artistic work is an intense and highly personal encounter. You engage directly with the work on its own terms before critics and history make their judgments, before anyone has suggested the works meaning or purpose, and before any assumptions can be made. It is the purest form of interaction between artist and audience. It is what we do best. We are also thrilled to present two MacArthur Foundation genius grant recipients this season. Chris Thile, alongside his fabulous band, the Punch Brothers, played to a rapturous audience of old fans and new in October soon after the awards were announced. In the spring, we will hear from another MacArthur Fellow, Claire Chase of the international Contemporary ensemble (iCe). Alongside other works, they will premiere a new Rite 100 work, called Radhe Radhe: Rites of Holi, by jazz pianist and composer vijay iyer inspired by the Hindu festival. As we move toward the holiday season, there will be much to delight our audiences. French pianist Pierre-laurent Aimard will perform in November and explore Debussys use of color in sound. We will welcome back Brazilian legend Gilberto Gil, and then the orchestre rvolutionnaire et romantique (orr) with Sir John eliot Gardiner. Last season, ORR provided an intoxicating program of Beethovens symphonies. This year, they return to perform Beethovens Ninth Symphony with the Monteverdi Choir, which was recently ranked as the worlds best choir by Gramophone magazine. Chapel Hill is one of only three venues presenting ORR this year. Thank you again for all your support. Your passion inspires me. Sincerely,

emil J. kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music


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///2012/13 season
Carolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Governance, the Institute for the Arts & Humanities, the College of Arts and Sciences, Student Body Government and UNC News Services.

Emil J. Kang Executive Director Rachel Ash Development and Stewardship Manager Rebecca Brenner Marketing and Communications Coordinator Barbara Call Finance and Human Resources Manager Amy Clemmons Development and Stewardship Coordinator Reed Colver Director of Campus and Community Engagement Jennifer Cox Administrative Assistant Mary Dahlsten Box Office Manager Tiffany Gay Artistic Assistant Raymond Farrow Director of Development and Strategic Initiatives Joseph Florence Marketing and Communications Manager Butch Garris Production Manager Erin Hanehan Artistic Coordinator Matt Johnson Production Manager Mike Johnson Associate Director Elizabeth Joyner Project Coordinator Marnie Karmelita Director of Artist Relations Susan Marston Accountant Sarah Mixter Artistic Assistant Dan McLamb Tessitura Systems Administrator Mark Nelson Director of Marketing and Communications Mark Steffen Events Manager Christine Tully Audience Services Manager Aaron Yontz Production Manager

Table of conTenTs
16 20 24 Pierre-Laurent Aimard, piano Gilberto Gil For All Orchestre Rvolutionnaire et Romantique and the Monteverdi Choir with sir John Eliot Gardiner, conductor and artistic director Brooklyn Rider Make it New with shara Worden, Gabriel Kahane and Dance Heginbotham Chucho Valds Quintet The Nutcracker Carolina Ballet Jazz for the Holidays nC Jazz Repertory Orchestra with James Ketch, music director and special guest John Pizzarelli, guitar/vocals 30


38 42 46


Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, Administrative Office, House and Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success.

///////////////////////////////////////////////////////////////// 4 6 10 15 19 49 50 52 53 54 60 62 63 Letter from the Executive Director Emil J. Kang About The Rite of Spring Rite of Spring Donors Not Quite Sure What You Like? Ackland Reframed Student View Important Information Donor Spotlight Carolina Performing Arts Society Donor List Restaurant Guide The Last Word Advertisers Index


This program book would not be possible without the advertisers who support it. Their patronage makes this information available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well. The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Devon Semler at (919) 834-9441 or or On the cover: Brooklyn Rider, photo by Sarah Small.

2012/13 / / / carolina performing arts 5

Vaslav Nijinsky

Serge Diaghilev & Igor Stravinsky

May 29, 2013

The centennial anniversary of the premiere performance of The Rite of Spring
Ballets Russes dancers in The Rite of Spring costumes

Nicholas Roerich illustration

Serge Diaghilev, Vaslav Nijinsky & Igor Stravinsky

what is


Le Sacre du printemps
On a hot Paris evening in 1913, a riot broke out at the ballet. At the Thtre des Champs-lyses, members of Serge Diaghilevs legendary dance troupe, the Ballets Russes, stamped their feet and jumped to a wild orchestral score. Shaken by Igor Stravinskys unorthodox music and scandalized by Vaslav Nijinskys audacious choreography, audience members shouted out their protests, while others rose up in defense. Punches were thrown; the police were called. On its opening night, The Rite of Spring secured its place in history. The outraged spectators must have known they were witnessing something important: Stravinskys score inspired countless composers and quickly assumed its place as a canonic work in the orchestral repertoire. The Rite of Spring has been choreographed more than any other music of the past century. From its ethereal bassoon solo opening to the sacrificial finale in which a young girl dances herself to death The Rite of Spring has captured the imagination of artists and audiences for the last century. The Rite of Spring was both an end and a beginning: a farewell to the ballet tradition and the Romantic orchestral works of the 19th century, and the birth of the avant-garde movement in the 20th. It brought together the work of three great artists: composer Stravinsky, choreographer Nijinsky and visual artist and costume designer Nicholas Roerich. In re-interpreting archaic iconography and Russian folk traditions, the creators found an artistic language wholly modern, in step with a decade marked by the sinking of the Titanic and the horrors of World War I. Looking back after a century, The Rite of Spring appears more relevant than ever.

The Rite of Spring is one of the most important works in the history of music.
Leonard Bernstein

It took Stravinsky, in one bold and sudden gesture, to grab music painfully and brutally, and to blast it into a wholly new region from which it could never return.
Peter Gutmann, Classical Notes

it might be the work of a madman.

Giacomo Puccini
By William Robin, UNC-Chapel Hill doctoral candidate in music. His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

2012/13 / / / carolina performing arts 7

100 yEaRS laTER

as important to the 20th century as Beethovens Ninth is to the 19th
The Times (London)


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Anne Bogart & Bill T. Jones

The Rite of Spring was significant not just as a riot-inspiring act of modernism, but also for its embrace of the interdisciplinary. Igor Stravinsky, Vaslav Nijinsky and Nicholas Roerich brought cutting-edge visuals and music together on a single stage. In the spirit of this cross-medium collaboration, Carolina Performing Arts and UNC-Chapel Hill will present a year-long centennial commemoration of The Rite of Spring, embracing all aspects of the multifaceted work. From September 2012 through May 2013, UNCs campus will be home to performances, academic conferences and courses exploring the impact of The Rite and what the work means today. Carolina Performing Arts has commissioned 11 new works from important artists across the globe choreographer Bill T. Jones and director Anne Bogart, puppeteer Basil Twist, composer Dmitri Yanov-Yanovsky, jazz pianist Vijay Iyer, among others who reimagine The Rite, bringing a contemporary flavor to the 1913 masterpiece. The Rite of Spring at 100 will present international dance companies reinterpretations of the original ballet and a reconstruction of Nijinskys groundbreaking choreography by the Joffrey Ballet. The UNC campus is actively participating in the discussion of the impact of The Rite of Spring and its historical lineage through artistic residencies, masterclasses, interdisciplinary course offerings and two major academic conferences taking place in Chapel Hill and Moscow. The Rite of Spring at 100 celebrates the dawn of modernism through an exploration of artistic creation and scholarly dialogues that will foretell what awaits us in the future.
By William Robin, UNC-Chapel Hill doctoral candidate in music. His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

Basil Twist

Brooklyn Rider

Yo-Yo Ma

Valery Gergiev
Vijay Iyer

2012/13 / / / carolina performing arts 9

Carolina Performing Arts year-long celebration The Rite of Spring at 100 would not be possible without the support of our donors. Major funding has been provided by The Andrew W. Mellon Foundation, The William R. Kenan, Jr. Charitable Trust, and the National Endowment for the Arts. Thank you to the following individuals, foundations and corporate partners for championing this historic year for the arts at Carolina.

ThANk you
Borden and Ann Hanes Wade and Sandy Hargrove Highland Vineyard Foundation Dr. Marcia Anne Koomen Irwin and Susan Levy Grey Lineweaver Mary and Paul Livingston James and Connie Maynard Linda Perry in honor of Cheray Z. Hodges Louise and Harold Pollard Ron Strauss and Susan Slatkoff Jillian Vogel Susan Wall Nan Weiss Beth and Julian Williamson sPECiAL THAnKs TO OuR CORPORATE PARTnERs CORE Catering Chapel Hill Magazine (local media sponsor) Fine Feathers Home on the Range KPO Photo McDuffie Design Parlez-Vous Crepe Peacock Alley Gifts Rivers Agency University Florist


Commitments received as of October 1, 2012
Benefactor ($250,000 and above) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation stravinsky Circle ($100,000 - $249,999) Thomas F. Kearns, Jr. Frank and Elizabeth Queally Diaghilev Circle ($50,000-$99,999) Jane Ellison The John W. and Anna H. Hanes Foundation Thomas S. Kenan III Joseph and Beatrice Riccardo Paul Rizzo Wyndham Robertson Kay and Van Weatherspoon nijinsky Circle ($25,000-$49,999) Munroe and Becky Cobey William D. and Dr. Sally C. Johnson Lisa and Theodore Kerner, Jr., M.D. Patricia and Thruston Morton National Endowment for the Arts Michael and Amy Tiemann Ballets Russes society ($10,000-$24,999) Mary Louise and John Burress Peter D. and Julie Fisher Cummings Jaroslav and Barbara Hulka Mrs. Frank H. Kenan Anne and Mike Liptzin
10 919-843-3333

Carol and Rick McNeel Josie Ward Patton Shirley C. Siegel Wells Fargo 1913 society ($5,000 - $9,999) Lee and Libby Buck Robert and Mary Ann Eubanks Fine Feathers Paul Fulton Cheray Hodges Jon and Mary Leadbetter Drs. Michael and Christine Lee Harriet and D.G. Martin James and Susan Moeser James and Florence Peacock Peacock Alley Gifts Phil and Kim Phillips Sharon and Doug Rothwell Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn Contributors (Under $5,000) Blanche and Zack Bacon Tina and Jerry Bell in honor of Cheray Z. Hodges Rhoda L. and Roger M. Berkowitz Suejette and David Brown Cliff and Linda Butler Bruce Carney and Ruth Ann Humphry Hodding Carter and Patricia Derian Sophia S. Cody Mr. and Mrs. Woody Coley Julia and Frank Daniels, Jr. Jo Anne and Shelley Earp Linda Frankel and Lewis Margolis

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2012/13 / / / carolina performing arts 11

TiS The SeASoN

This holiday season, consider making a gift to Carolina Performing Arts in support of the many ways the arts have enriched your life this year. LOOKinG FOR THE PERFECT GiFT? Make a contribution in honor of someone who loves the arts. Your support will help make possible inspiring and ground-breaking performances as well as one-of-a-kind education programs with our world-class artists. sPREAD A LiTTLE JOY WiTH A GiFT TO CAROLinA PERFORMinG ARTs. Visit to learn more.



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Anne Bogart & Bill T. Jones

Coming Soon to UnCS memoRial Hall

Carolina Chocolate Drops

JANuAry ///////////////////////////////////////
JAN 19 radu lupu, piano JAN 25/26 Bill T. Jones/Arnie Zane dance Company and SiTi Company (World Premiere)

FeBruAry //////////////////////////////////////
Jazz at Lincoln Center Orchestra

FeB 8 FeB 9 FeB 10 FeB 20 FeB 22 FeB 25 FeB 26/27

Carolina Chocolate drops and vusi Mahlasela Abigail Washburn and kai Welch with special guest Wu Fei Jazz at lincoln Center orchestra with Wynton Marsalis Magdalena koen, mezzo-soprano and yefim Bronfman, piano dafnis Prieto Sextet kodo Alvin Ailey American dance Theater
Rite of Spring at 100 Performance


Alvin Ailey American Dance Theater

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Fall Gala
Carolina Performing Arts launched its eighth season and The Rite of Spring at 100 on September 28 with a fall gala. One hundred and eighty people joined us at the FedEx Global Education Center for an evening of music and celebration, including special guests Yo-Yo Ma and the Silk Road Ensemble.
The highlight of the evening was a special performance by the Silk Road Ensemble of a selection from Sacred Signs, a new work commissioned by CPA for Rite 100 by composer Dmitri Yanov-Yanovsky. Thank you to everyone who helped make this incredible evening possible, especially Cheray Z. Hodges, the gala committee chair. Mark your calendars for the spring gala on Saturday, April 27, followed by a performance by the Martha Graham Dance Company in Memorial Hall.

Photos by KPO Photo

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NoT quiTe Sure WhAT you like?

Sometimes you dont know until you see it
Gilberto Gil

At Carolina Performing Arts, we try to provide you with a wide variety of performances so you can experience world-renowned favorites along with cutting-edge new artists. We want to provide you the opportunity to view the world through a different lens and expand your horizons by presenting artists who help us all think about our world beyond our everyday lives.


With this in mind, the following thematic collections offer you another way of looking at the performances in this brochure and may be helpful as you build your personal 12/13 season.

NOV 14

These performances feature living legends artists recognized as being at the absolute peak of their field.
Orchestre Rvolutionnaire et Romantique and the Monteverdi Choir Bill T. Jones/Arnie Zane Dance Company and SITI Company Jazz at Lincoln Center Orchestra with Wynton Marsalis Alvin Ailey American Dance Theater The Cleveland Orchestra Joffrey Ballet

NOV 16 APR 3/5 APR 12/13 APR 26/27

Stir your soul with these cutting-edge, avant-garde performances

Brooklyn Rider Nederlands Dans Theater I Basil Twist, puppeteer, with Orchestra of St. Lukes Martha Graham Dance Company Myth & Transformation

Alvin Ailey American dance Company

JAN 25/26 FEB 10 FEB 26/27 MAR 17 MAR 23/24

NOV 11 DEC 1/2 DEC 7
vijay iyer

hiGh eNerGy
NOV 12 FEB 8 FEB 9

These performances are energetic and loud; come prepared to get up, stand up and dance!
Gilberto Gil Carolina Chocolate Drops and Vusi Mahlasela Abigail Washburn and Kai Welch with special guest Wu Fei

Need some peace in your life? Looking to be transported to another place? These performances will do just that.
Pierre-Laurent Aimard, piano The Nutcracker Carolina Ballet Jazz for the Holidays NC Jazz Repertory Orchestra with special guest John Pizzarelli Radu Lupu, piano Magdalena Koen, mezzo-soprano and Yefim Bronfman, piano Kurt Elling Spring Dance UNC School of the Arts

JAN 19 FEB 20 MAR 20 APR 20/21

GloBAl vieWS
NOV 27 FEB 22 FEB 25 MAR 26

Travel the globe without leaving the Triangle. The world comes to you at UNCs Memorial Hall.
Chucho Valds Dafnis Prieto Sextet KODO Vijay Iyer and International Contemporary Ensemble, with video by Prashant Bhargava

Martha Graham dance Company

carolina performing arts 2012/13 //////carolina performing arts 15 15

A virtuoso of imagination
The New York Times


Pierrelaurent Aimard, piano


SUN, NOV 11 At 7:30PM

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.



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Program Notes live with Pierre-laurent Aimard, piano After the concert, Nov. 11 | Memorial Hall

Nov 11

SUN, 7:30PM

Prludes, Book II ................................................................................ Debussy Brouillards ...............................................................................(1862-1918) Feuilles mortes La puerta del vino "Les fes sont d'exquises danseuses" Bruyres "General Lavine" eccentric La terrasse des audiences du clair de lune Ondine Hommage S. Pickwick, Esq., P.P.M.P.C. Canope Les tierces alternes Feux d'artifice INTERMISSION Elis Three Night Pieces for Piano ................................................ Heinz Holliger ...................................................................................................(b. 1939) 12 Symphonic Etudes, Op. 13 .......................................................... Schumann Thema. Andante .......................................................................(1810-1856) Nr. I Un poco piu vivo Nr. II Nr. III Vivace Nr. IV Nr. V Scherzando Nr. VI Agitato Nr. VII Allegro molto 5 Symphonic Etudes, Op. Post .......................................................... Schumann Nr. VIII Nr. IX Presto possibile Nr. X Nr. XI Nr. XII Allegro brillante

tone compositional techniques. Short fragments, or gestures, permeate each piece, which depicts the character Elis as caught between an elegiac dream and death. In 1833, Chopin published his Etudes, Op. 10. A few years later, Schumann began working on what he called Variations pathtiques, then retitled Twelve Davidsbndler Etudes. We now have come to know Op. 13 simply as the Symphonic Etudes. This work serves as a succession of small pieces enclosed within one major form. In 1858, Brahms discovered several additional lost pieces, now called the posthumous tudes. Many pianists find it difficult to fit these five additional tudes into the perfect structure of the remaining twelve. They contain their own emotional climaxes, but many pianists decide not to separate them during their program. The word Symphonic in the title is important. Schumann wanted to go beyond the sound of the piano. Of course he was not the first composer to do this. Schumann at that time was looking for all possibilities, and felt he was competing with Chopins Etudes. He was also adherent and sensitive to key relations, and all the variations and tudes are in relative keys. Within this work Schumann creates a Carnaval set of tudes. He was a master of this in that he was always using masks, which is a very important concept in all Romantic music and in literature, painting and poetry, for that matter. Robert Schumann was once quoted in 1839 as saying, Modern pianistic art wants to challenge the symphony orchestra and rule supreme through its own resources. The 1830s saw an enlightenment in piano literature and elevated the piano to a truly symphonic instrument. Debussys second book of preludes provides an early glimpse into the composers later style, in which his earlier impressionistic poetry was supplanted by a greater focus on technique and neoclassical objectivity. In the second volume, the range of Debussys tonal articulation is by and large broader than the first. Another distinction between the two volumes is the influence of Igor Stravinsky on the second most notably of Stravinskys ballet scores Petrushka and Le sacre du printemps, which Debussy greatly admired. To Debussy, preludes were the musical equivalent of impressionistic or symbolic painting. His second book of

/////////////////////////////////////////////////////////////////////////////////////////// PROGRAM nOTEs

By John Benton The Swiss composer Heinz Holliger was born in Langenthal in 1939. Widely known as an accomplished oboist, conductor and pianist, he studied composition in the 1960s with Pierre Boulez at the Music Academy of Basel. Holliger was greatly influenced in his compositions by the Second Viennese School, especially by Berg and Webern. Later in his career he created a unique individual style which is characterized by sensitive and unusual tone colors and artistic images derived from literature. He identified himself with many poets, but his Three Night Pieces from 1961 are inspired by the Austrian poet George Trakl. The poems were named for a 17th-century Swedish boy who died on his wedding day. Georg Trakl wrote a series of Elis poems, and Holligers three brief ethereal pieces are given the titles: I. Elis, when the blackbird calls in the black woods This is your decline, II. Blue Doves Drink at night the icy sweat Which runs from Eliss crystal brow, and III. A golden boat sways your heart, Elis in the lonely sky. These pieces are atonal with references to twelve-

2012/13 / / / carolina performing arts 17

/////////////////////////////////////////////////////////// PieRRe-LAUReNt AiMARd, PiANO

preludes, published in 1913, consists of twelve generous vignettes painted in a pastel kaleidoscope of pianistic colors. Debussy was intrigued by the accentuation of evocative, non-representational moods and subjects. He applied the aesthetic in a musical way so that the elements of melody, pitch, rhythm and form were cast in impressionistic and layered structures. As the Symbolist poets of his day explored the aesthetic rhythm and combination of words, Debussy fused and juxtaposed pitches and textures in twelve symbolic individual musical pieces. John Benton received his Bachelor of Music and Master of Arts in Teaching degrees from UNC-Chapel Hill. He is currently the choral and orchestra director at McDougle Middle School in the Chapel Hill-Carrboro School System.

with major orchestras under conductors including Esa-Pekka Salonen, Christoph von Dohnnyi, Gustavo Dudamel, Nikolaus Harnoncourt, Peter Etvs and Sir Simon Rattle. He has created, directed and performed in residencies, with recent projects at Carnegie Hall, New York's Lincoln Center, Vienna's Konzerthaus, Berlin's Philharmonie, the Lucerne Festival, Mozarteum Salzburg, Cit de la Musique in Paris, the Tanglewood Festival and London's Southbank Centre. Aimard is also artistic director of the prestigious Aldeburgh Festival. Highlights of 2012/13 include concerto appearances with the New York Philharmonic, the Budapest Festival Orchestra with Osmo Vnsk, the Philharmonia Orchestra and the Wiener Philharmoniker in Salzburg. He also regularly directs concerts from the keyboard with the Chamber Orchestra of Europe. Aimard has collaborated with many leading composers including Gyrgy Kurtg, Karlheinz Stockhausen, Elliot Carter, Pierre Boulez, George Benjamin and Gyrgy Ligeti. Through professorships at the Hochschule

Kln and Conservatoire de Paris and numerous lectures and workshops worldwide, he sheds an inspiring and personal light on music of all periods. He received the Royal Philharmonic Societys 2005 Instrumentalist Award and was named Instrumentalist of the Year by Musical America in 2007. Aimard now records exclusively for Deutsche Grammophon (DG). His first DG release, Bach's Art of Fugue, received the Diapason d'Or and Choc du Monde de la Musique awards, debuted at No. 1 on Billboard's classical chart and topped iTunes classical album download chart. He has received ECHO Classik Awards and Germanys Schallplattenkritik Honorary Prize. His recording of Ives Concord Sonata and Songs received a 2005 Grammy Award. His 2011 release The Liszt Project has been followed by a recording of Debussys Prludes in 2012, the 150th anniversary of the composers birth. ///

Pierre-Laurent Aimard, piano

Widely acclaimed as a key figure in the music of our time and a significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard enjoys an internationally celebrated career. He performs throughout the world


In an interview by The Guardian on August 16, 2007, pianist Pierre-Laurent Aimard explains, if you want me to give a definition to what I do, I wouldn't say I'm a pianist I'm a musician, and the piano happens to be my instrument. I don't like to have one function, to give me just one perspective on music. I like to make chamber music, to be part of a group, to play song accompaniments, to teach, to speak about music. In other words, to live the phenomenon on different sides." Mr. Aimards thoughts on being a musician have resonated deeply with my own personal experiences in the world of music. I am passionate about both performing and teaching. As a professional pianist, I enjoy giving solo recitals, performing concerti with orchestras and collaborating with others in chamber music groups. As Assistant Professor at UNC-Chapel Hill, I am constantly involved in multiple teaching activities, such as mentoring many of UNCs wonderful piano students, conducting piano master classes and giving theory lectures to music majors. The process of teaching has always helped me improve as a performer, and being an active performer has helped me gain a better understanding of teaching. I have found that these various activities have given me many different perspectives on how to become a well-rounded musician. Mr. Aimards multi-faceted perspective on music is an inspiration behind my passion for performing and teaching. Celebrating the 150th anniversary of Claude Debussy's birth, Mr. Aimard will perform Debussys Preludes, Book II as part of tonights recital. In a recent interview on NPR, Mr. Aimard revealed that he has been overwhelmed by Debussys music since he was a child. He finds it filled with the complexity of colors and incredible, rich sonorities. Mr. Aimard points out that Debussy often writes in different manners sometimes he can be realistic, other times very abstract. We will have the pleasure of witnessing Mr. Aimards artistry in this wonderful solo program tonight. Dr. Clara Yang is the Assistant Professor of Piano at UNC Chapel Hill. ///



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Chief Curator, Ackland Art Museum When invited to organize a small exhibition at the Ackland connected to Carolina Performing Arts magisterial celebration of The Rite of Spring, and to write about a work of art for Ackland Reframed, I knew immediately what I had to choose: the powerful 1914 portfolio of black-and-white lithographs Mystical Images of War by Natalia Goncharova (1881-1962), a key participant in the efflorescence of Russian avant-garde art in the early decades of the last century. The resonances and associations are compelling. For one thing, 1914 also saw Goncharovas first designs for Diaghilev, whose premiere of The Rite the previous year had been such a succs de scandale. Goncharovas stunning sets and costumes for the Paris production of Rimsky-Korsakovs opera-ballet Le Coq dOr marked the beginning of her decades-long association with the Ballets Russes and successor companies. But the connections are not just biographical or circumstantial. They go deeper. Paralleling Stravinskys piece, Goncharovas portfolio also combines the so-called primitive with the emphatically modern. The sheet illustrated here is a dramatic example, with its juxtaposition of angels and airplanes, traditional religious imagery and the most up-to-date technology. The artists crowded z-shaped composition rhymes the wings of the angels with those of the biplanes, as well as a halo with a spinning propeller. As in her earlier work, Goncharovas hybrid style draws on a range of stylistic points of reference, from Russian icons and frescoes in the Byzantine-Orthodox tradition to popular Russian 19th-century printed broadsides (the so-called lubki). Stravinsky and his collaborators took extensively from folk religion and folk music, and Goncharova, too, appropriates and translates the indigenous and the national from the past to make a powerful statement about the modern and contemporary. This portfolio is inextricably tied to its moment of production: the early stages of World War I. It nationalistically invokes selected Russian traditions to sanctify the new conflict. Apparently participating in the general euphoria that gripped many after the declaration of hostilities, Goncharova presents a mystical affirmation in an inexpensively produced portfolio designed for very wide distribution. Something of its flavor can be gleaned from describing the portfolios other sheets. It opens with St. George, the victory-bringing saint who slays a dragon. Three sheets introduce allegorical symbols of the anti-German allies: a double-headed white eagle (a Tsarist emblem) swooping down to strangle a hapless black opponent with one beak and grab a crescent moon (perhaps the symbol of the Ottoman Empire, a German ally) in the other; a heraldic depiction of the British Lion; and the French Cock, crowing atop an artillery barrel as it faces down incoming cannonballs. Some sheets invoke powerful symbols of the Russian church: the Orthodox saints Peresvet and Oslyaba, mythologized warrior-monks who had taken part in the Russian defeat of the Tartarsat the Battle of Kulikovo in 1380; the 13th-century military hero Alexander Nevsky, later canonized; and the Archangel Michael in his role as the commander of the heavenly armies. Others develop the apocalyptic theme from the Bibles Book of Revelations more explicitly, giving voice to the widespread hope that the war would be a cleansing and purifying ordeal: the naked Harlot on the Beast, trampling the bodies of fallen soldiers; angels casting rocks onto a doomed city (a modernized Babylon); the Pale Horse of death ridden by a black angel with a scythe, traversing a field of skeletons. Some more straightforward images confront the modern army with religion: cavalrymen experiencing a vision of Mary and the Christ Child; marching infantry watched over by hovering angels; a mass grave surmounted by a sorrowful angel with hands and wings outspread; and, of course, the Angels and Airplanes image itself. This quick but I hope tantalizing survey brings out another point of connection between this portfolio and the Rite: the troublesome glorification of violence and redemption. We should not forget that the portfolio is a kind of war propaganda, or that the Rite involves human sacrifice, not just the metaphorical violence of percussive musical rhythms, convulsive choreography, and vibrant colors. Setting Mystical Images of War and The Rite of Spring into this kind of multifaceted dialogue can be provocative and productive: I invite you to visit the Ackland to continue the exploration. ///

Natalia Goncharova | Russian, 1881-1962 Angels and Aeroplanes from Mystical Images of War, 1914


Lithograph | 12-13/16 x 9-3/8 in. (32.5 x 23.8 cm) | Ackland Art Museum The University of North Carolina at Chapel Hill | Lent by Peter and Cecily Nisbet L2012.1.1.11 | 2012 Artists Rights Society (ARS), New York / ADAGP Paris , Natalia Goncharovas portfolio Mystical Images of War is on view at the Ackland Art Museum through January 6, 2013.

2012/13 / / / carolina performing arts 19

A musical legend
The Guardian

Gilberto Gil For all

20 919-843-3333

MON, NOV 12 At 7:30PM

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Program Notes live with david Garcia 6:30pm, Nov. 12 | Historic Playmakers Theatre

MON, 7:30PM
Marley songs), Gil Luminoso, Banda Larga, Banda Dois and F na Festa. In 2002, after his appointment as Brazils Minister of Culture, Gil began circulating the international socio-political, environmental and cultural landscape. Under the Ministry, he has designed and implemented new policies ranging from the creation of pontos de cultura (cultural hotspots) to the leading presence of Brazil in forums, seminars and conferences worldwide, working on topics including new technology, copyright, cultural development, cultural diversity and the place of southern countries in the globalized world. Gilberto Gil has been appointed UNESCOS Artist for Peace and United Nations FAO Goodwill Ambassador and was awarded Frances Lgion d'Honneur and Sweden's Polar Music Prize. ///

Nov 12

Program to be announced from the stage.

Gilberto Gil, vocals/guitar sergio Chiavazzoli, guitars Arthur Maia, bass Jorge Gomes, zabumba/drums Toninho Ferragutti, accordion Gustavo di Dalva, percussion nicholas Krassik, violin/rabeca

Gilberto Gil, vocals/guitar

Gilberto Gils career began with the accordion, inspired by baio pioneer Luiz Gonzaga, the radio, and local religious parades. Influenced by Joao Gilberto, bossa nova and Dorival Caymmi, he took up the guitar. From the beginning, he has portrayed his country of Brazil, taking on very personal rhythmic and melodic forms.

In 1963, Gil met Caetano Veloso at the University of Bahia. They became key figures in the Tropicalia movement, internationalizing Brazilian music, theater, visual arts, cinema and more along with Gal Costa, Tom Z, Rogrio Duprat, Joseph Capinam, Torquato Neto, Rogrio Duarte, Nara Leao and others. Imprisoned by the military dictatorship due to the political content of his music, Gil was then forced into exile in London, where he recorded an album influenced by The Beatles and Jimi Hendrix, among others. Returning to Brazil, Gil continued his rich recording output, with 52 albums in total, 4 million copies sold, and nine Grammy Awards. Recordings include Expresso 222, Refazenda, Viramundo, Refavela, Refestana (with Rita Lee), Realce, Nightingale, UmBandaUm, Dia Dorim, Raa Humana, Unplugged MTV, Quanta, Eu Tu Eles, Kaya Na Gandaya (interpretations of Bob

2012/13 / / / carolina performing arts 21



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Gilberto Gil and other musicians, who, by the mid-1960s, had emigrated from Bahia to So Paulo (Brazils industrial and financial powerhouse) developed a musical style informed by cannibalism, often referred to as Tropiclia. Like the Modernists of the 1920s, the Tropicalists cannibalized the foreign U.S. and British rock and roll; African-American blues, soul, and funk; traditional and pop African styles; Cuban bolero and salsa; and international avant-garde art music, for example. They then combined it with the numerous educated and vernacular musical traditions of Brazil, especially those of Bahia, to create something new, simultaneously universal and Brazilian, radical and traditional. In the late 1960s, the music of Gil and his colleagues often elicited the same boos and catcalls that initially greeted The Rite of Spring. These works challenged the public to think, see, hear, and feel something new, yet their creators found inspiration in past traditions, which they interpreted and transformed in light of their own contemporary experience. Today, in 2012, as we prepare to celebrate the upcoming centennial of The Rite of Spring, and as Brazilians celebrate the 90th anniversary of the Week of Modern Art, we welcome Gilberto Gil, whose program features forr, one of the musical traditions of his native Bahia. Forr, a term that some believe derives from the Brazilianization of the English words for all, is as deeply rooted in Brazilian culture and musical history as samba. In the hands of a musician so keenly aware of his countrys deep musical traditions and so attuned to new and perhaps foreign possibilities as Gilberto Gil or Igor Stravinsky forr will be truly for all. eduardo de Jess Douglas is an associate professor of art history at UNC-Chapel Hill. ///


Collecting Matisse and Modern Masters

On view through February 10, 2013
a fascinating look at the Cones evolving relationships with Picasso and Matisse
The New York Times

Tickets on sale now: 919-684-4444, or in person at the museum. Nasher Museum members receive two free tickets per day.

LEFT: Henri Matisse, Striped Robe, Fruit, and Anemones, 1940. Oil on canvas, 21 x 25 inches. (54.3 x 64.8 cm) BMA 1950.263 2011 Succession H. Matisse/ Artists Rights Society (ARS), New York.

This exhibition is organized by The Baltimore Museum of Art, The Jewish Museum, New York, and the Vancouver Art Gallery. In Durham, the exhibition is presented in collaboration with the Nasher Museum of Art at Duke University. At the Nasher Museum of Art, lead foundation support is provided by the Crow Creek Foundation. Lead corporate support is provided by Wells Fargo. The media sponsor is NBC17.

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wed, NOV 14 At 7:30PM

orchestre rvolutionnaire et romantique and the Monteverdi Choir

with Sir John eliot Gardiner, conductor and artistic director
Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.



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It was revolutionary, it was romantic, it was wonderful

The Times (London)

Program Notes live with Sir John eliot Gardiner and musicians 6:30pm, Nov. 14 | Historic Playmakers Theatre
Elisabeth Meister, soprano Jennifer Johnston, mezzo-soprano Michael spyres, tenor Matthew Rose, bass
The Orchestre Rvolutionnaire et Romantique and Monteverdi Choir are supported by the American Friends of the Monteverdi Choir and Orchestra, Inc.

Nov 14

wed, 7:30PM

Meeresstille und Glckliche Fahrt, Op. 112 ...................................................................... Beethoven (Calm Sea and Prosperous Voyage) .............................................................................. (1770-1827) PAUSE Symphony No. 9 in D minor, Op. 125 .............................................................................. Beethoven Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto Allegro assai Allegro assai vivace

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By Molly Barnes In 1815, Beethoven set to music two poems by the great German writer Johann Wolfgang von Goethe: Meerestille (Calm Sea) and Glckliche Fahrt (Prosperous Voyage), poems that were also set to music by Franz Schubert (in 1815) and Felix Mendelssohn (in 1832). Beethoven chose to set the texts as a short cantata for choir and orchestra. The two poems, conceived by Goethe as a pair, convey a marked difference in mood, a difference reflected in Beethovens musical choices. The first section of the cantata, the longer of the two, communicates a beautiful but increasingly anxious stillness, punctuated by intense moments of fear. Here, the poetry describes a boatman who surveys the motionless sea in terrified anticipation of an impending storm. The second section bursts forth in a great wave of song, demonstrating the boundless joy of the sailor when the winds swell and the sun glistens upon the waves, dispelling any lingering dread of natures fury. Many consider Beethovens Ninth Symphony (nicknamed the Choral) to be the ultimate masterwork of his artistic career, and in some ways the piece represents a culmination of various creative and personal developments throughout his life. The symphony was composed in the year 1823 and was premiered the next year, by which time the composer was almost entirely deaf. Audiences had never heard such a lengthy and monumental musical work of such expressive magnitude. The first three movements a foreboding opening allegro, a rousing Scherzo, and an achingly beautiful slow movement run the gamut of emotional experience. The mysterious opening of the first movement slowly gathers power, leading to an explosive first theme whose lofty despair is finally overcome in the unprecedented final movement. Indeed, in this last movement Beethoven achieved with stunning success a feat no one else had ever dared to attempt: the incorporation of a full choir and vocal soloists into a symphony. The result is a finale of unparalleled virtuosity and dramatic intensity; here Beethoven mercilessly demands every ounce of skill and energy from singers and instrumentalists. The text praises the goddesses Joy and Nature, and calls for a union of all humankind in reverence to the Creator. Beethoven had planned for decades to set this section of text from the larger poem of 1799, An die Freude (To Joy) by the German Enlightenment poet and philosopher Friedrich Schiller. The melody of this finale remains one of the most universally recognized tunes of our time. Few works of Western music can boast the international recognition and admiration that Beethovens Ninth Symphony enjoys. The last movement in particular has gained currency in advertisements, films, and other media. Whether Beethoven intended it or not, the symphony has also become a symbol of global brotherhood and unity. Perhaps most famously, the composer and conductor Leonard Bernstein led a performance of the symphony at the fall of the Berlin Wall in 1989. Almost two centuries after its premiere, this work continues to inspire awe and elicit passionate responses among audiences across the world. Molly Barnes is a third-year graduate student in music at UNC-Chapel Hill.

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////////////////////////////////////////////////////////////// ORcheStRe RVOLUtiONNAiRe

The Orchestre Rvolutionnaire et Romantique (ORR) was founded by Sir John Eliot Gardiner in 1989 with the aim of bringing to the music of the 19th and early 20th centuries an equivalent stylistic fidelity and intensity of expression characteristic of his renowned period-instrument orchestra, the English Baroque Soloists. From its inception, the ORR won plaudits internationally, notably for its interpretation of the works of Beethoven, which it performed extensively and recorded for Deutsche Grammophon in the 1990s. In 2011, the Orchestra returned to this repertoire for the first time in nearly 20 years, with a successful tour of Beethoven symphonies in Europe and the US. In 2012, they continue with a tour of the Missa Solemnis. ORR has been acclaimed for its interpretations of all the major early Romantic composers, starting with Hector Berlioz. Other critically acclaimed initiatives include the Schumann Revealed project at the Barbican in 1997 that led to recordings of the complete Schumann symphonies and Das Paradies und die Peri. This was followed a decade later by Brahms: Roots and Memory at the Salle Pleyel and the Royal Festival Hall in 2007/08, in which Brahms four symphonies were set in the context of his most significant choral works and music of the 16th to 19th centuries that he himself transcribed and conducted. The project was recorded for the ensembles own label, Soli Deo Gloria. Operas by Weber (Oberon and Le Freyschtz), Bizet (Carmen), Chabrier (LEtoile), Verdi (Falstaff) and Debussy (Pellas et Mlisande) have been performed in new productions in Europe. Performances in 2011/12 included Debussys Pellas et Mlisande at the BBC Proms and works by Brahms, Bruckner (Mass in E minor), and Stravinskys Symphony of Psalms. Touring engagements for 2013 include Berliozs La Damnation de Faust and Beethoven Symphonies Nos. 2 and 8.


The Monteverdi Choir, founded in 1964, is famous for its passionate, committed and virtuosic singing. Over the past 45 years it has been consistently acclaimed as one of the best choirs in the world, noted for its ability to switch composer, language and idiom with complete stylistic conviction. The Choir is also a fertile training ground: Many of its choristers have gone on to spectacular solo careers. The Choir has undertaken trail-blazing tours including the Bach Cantata Pilgrimage in 2000, during which they performed all 198 of J.S. Bachs sacred cantatas throughout Europe to celebrate the 250th anniversary of the composers death. The entire tour was recorded by the companys own record label, Soli Deo Gloria. Another large-scale project in 2004 took the musicians on the road to Santiago de Compostela, where they performed a cappella Spanish polyphony in churches en route. With more than a hundred recordings and numerous prizes to its name, the Choir regularly participates in staged opera productions and is currently serving a fiveyear residency at the Opra Comique in Paris. In the past two years, the Choir has sung in several performances of Beethovens 9th Symphony with the London Symphony Orchestra under John Eliot Gardiner to great critical acclaim. In 2011/12, it took part in a variety of projects across other repertoires, including (together with ORR) music by Brahms, Bruckner and Stravinsky; tours and recordings of a cappella English renaissance music and Bachs Ascension Cantatas with the English Baroque Soloists. It also began new collaborations with the Berlin-based Mahler Chamber Orchestra (Schumanns Manfred) and the Orchestre National de France (Berliozs Grande Messe des Morts). 2013 highlights include Bachs St. John Passion and B Minor Mass in Europe, and the Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne. The Choirs collaboration with the London Symphony Orchestra continues with performances of Stravinksys Oedipus Rex.



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et ROMANtiqUe



One of the most versatile conductors of our time, John Eliot Gardiner appears regularly with leading symphony orchestras. Formerly artistic director of the Opra de Lyon, since the 2006 season he has conducted new productions of LEtoile (Chabrier), Carmen, Pellas et Mlisande and the Weber-Berlioz Le Freyschtz at the Opra Comique in Paris. He appeared at the Royal Opera House, Covent Garden with Rigoletto in April, 2012. In July, he finished the season with performances of Berliozs Grande Messe des morts at the Festival de Saint-Denis with the Orchestre National de France and the Monteverdi Choir. Acknowledged as a key figure in the early music revival of the past four decades, he is the founder and artistic director of the Orchestre Rvolutionnaire et Romantique, the English Baroque Soloists and the Monteverdi Choir, recently voted best choir in the world. With them he has undertaken a number of ambitious large-scale tours. He opened the Salzburg Festival 2012 with Haydns The Creation with the Monteverdi Choir and English Baroque Soloists. 2013 highlights include Berliozs La Damnation of Faust and Bachs Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne. Gardiner has made over 250 recordings for major record companies and received numerous international awards, including Gramophones recent Special Achievement Award for live recordings of the complete church cantatas of J.S. Bach. He has received several international prizes and honorary doctorates. In 1992, he became an Honorary Fellow of King's College London and the Royal Academy of Music and in 2007/08 a Visiting Fellow of Peterhouse, Cambridge. He was made a CBE in 1990 and a Knight Bachelor in the 1998 Queen's Birthday Honors List. In 2008, he was awarded the Royal Academy of Music/Kohn Foundation's prestigious Bach Prize. He was nominated Commandeur dans l'Ordre des Arts et des Lettres in 1996 and made Chevalier de la Lgion d'Honneur in 2010.


I first encountered John Eliot Gardiner in the mid-1970s when I played principal cello in my school orchestra at Chethams School of Music in Manchester, England. Gardiner, there to direct a couple of concerts, was a force on the rostrum but since the fascination with early music and period instrument performance was still in its infancy in the UK, I had no idea that the conductor leading us through Stravinsky's Firebird Suite, Dvorak's 8th and Shostakovich's 5th Symphonies had already embarked on a quest to redefine performance techniques and the musical parameters that would inform the entire classical music world for years to come. I vividly remember his athletic musical intelligence, the keen sense of color and detail which was shown through word and gesture, and a number of those conversations and situations which occur only in live music. I was also taken by his approachability and took advantage by becoming somewhat of a groupie over the following years, attending his performances wherever possible. The first-ever Messiah on period instruments at London's Barbican, where I first heard live the still incomparable Monteverdi Choir in full voice, remains with me. My presence at numerous performances at the Festival International dArt Lyrique in Aix-en Provence inspired the comment from Gardiner, "Llewellyn, you keep turning up like a bent penny," which I took as a compliment at the time. Since then Monteverdi, Handel, Bach, Haydn, Mozart, Beethoven, Berlioz, Schubert, Schumann, Brahms, Verdi and so many others have enjoyed the scrutiny and passion of the Gardiner treatment, and I have had the opportunity to work with many of the musicians from the period instrument world as well. Nowadays, you start rehearsals with many of the world's orchestras with a common understanding of early music performance practice already mutually assumed. This is a transformation of epic proportions, compared with the approach of the 1960s, and is in no small way thanks to the pioneering work of John Eliot Gardiner. For all the scholarship, the dogged, uncompromising rehearsal and the trial and error that has gone into this voyage of musical discovery, what stays with me at each new performance I hear is the sheer thrill of the music. There is a visceral excitement to every Gardiner show that provides an ideal to all of us striving in the music world. Grant Llewellyn has served as Music Director of the North Carolina Symphony since 2004. With its first formal performance in Chapel Hill in 1932, this season is the NC Symphonys 80th Anniversary. ///

Elisabeth Meister, soprano

The 2011/12 season saw British soprano Elisabeth Meister in the title roles Ada and Lucrezia Borgia, as well as Elisabeth (Tannhuser), for Teatro Municipal Santiago. In addition, she performed First

2012/13 / / / carolina performing arts 27


Lady (Die Zauberflte) and cover title Ariadne auf Naxos for Chicago Lyric. The 2012/13 season includes Helmwige and cover Sieglinde (Die Walkre) and Third Norn (Gtterdmmerung), Ker (The Minotaur), and title covers Gloriana and Turandot for the Royal Opera House, Covent Garden. A former member of the Jette Parker Young Artists Programme, Miss Meisters roles for the Royal Opera include Pale Lady (The Gambler), Fox (The Cunning Little Vixen), High Priestess (Ada), Costanza (Lisola Disabitata), First Lady (Die Zauberflte) and Dama Macbeth. In addition, she covered the title roles Der Rosenkavalier, Ada and Anna Nicole, as well as Polina (The Gambler) and Ellen Orford (Peter Grimes). Concert repertoire includes Dvor ks Stabat Mater, Elgars Caractacus, The Dream of Gerontius and The Kingdom, Haydns Creation and Nelson Mass, Mahlers Eighth Symphony, Mendelssohns Elijah, Mozarts C Minor Mass and Requiem, Orffs Carmina Burana, Rossinis Petite Messe Solennelle and Stabat Mater, Tippetts A Child of our Time, Vaughan Williams A Sea Symphony and Verdis Requiem, among many other works. Miss Meister was born in Bristol and was educated at Backwell School before moving to London to train at the Royal Academy of Music and the Guildhall School of Music and Drama. She sang with the Glyndebourne Festival Opera and Welsh National Opera choruses before continuing her development at the Cardiff International Academy of Voice, where she studied with Dennis ONeill, CBE. She continues her studies at the Royal Opera with Paul Farrington and Andrew Watts.

With a repertoire that spans the centuries, she has performed with many of the worlds greatest orchestras and appeared in opera at the Salzburg Festival, the Edinburgh International Festival, the Festival dAixen-Provence, Opera de Lille, the Aldeburgh Festival, Scottish Opera and Opera North in roles including Fricka, Waltraute, Suzuki, Dido, Hnsel, Mrs. Herring, Giovanna Seymour, Lucretia and Agrippina. A noted recitalist, she has appeared at the Cheltenham, City of London, Perth and Aldeburgh Festivals and broadcasts regularly on Radio 3, partnered by Graham Johnson, Malcolm Martineau, Alisdair Hogarth and Joseph Middleton. Her growing discography includes Britten songs with Martineau for Onyx Classics (2011) and Thuille songs with Middleton for Champs Hill Records (2013). Her engagements in 2012/13 include Second Norn (Gtterdmmerung) at the Bayerische Staatsoper and at the Munich Festival, Jocasta (Oedipus Rex) with the London Symphony Orchestra for Sir John Eliot Gardiners 70th birthday in London and Paris, a tour of Europe and the US, including her debut at New Yorks Carnegie Hall of Beethovens Missa Solemnis and Symphony No. 9 with Sir John Eliot Gardiner, Haydns Paukenmesse (BBC Scottish Symphony Orchestra with Bernard Labadie), Handels Messiah (Royal Liverpool Philharmonic with Diana Cummings), Brittens Spring Symphony (BBC National Orchestra of Wales with David Atherton), Beethovens Symphony No. 9 (Bournemouth Symphony Orchestra with Kirill Karabits), Bachs B Minor Mass (Northern Sinfonia) and her solo recital debut at Wigmore Hall with Joseph Middleton, broadcast live on BBC Radio 3.

in Brussels), Liszt's Faust-Symphonie in Lige, Berlioz's Requiem at the St. Denis Festival, and Baldassare in Rossini's Ciro in Babilonia at the Caramoor Festival and the Rossini Festival in Pesaro. 2012/13 appearances include Faust in Berlioz's La damnation de Faust at the Vlaamse Opera; Missa Solemnis and Beethoven's 9th Symphony at Carnegie Hall; Don Ramiro in La Cenerentola at Palm Beach Opera; Masaniello in La Muette de Portici in Bari; Verdi's Messa da Requiem in Porto; Candide at the Vlaamse Opera, Rodrigo in Rossinis La donna del lago at the Royal Opera, Covent Garden; and Arnold in Guillaume Tell at the Bad Wildbad Festival (including a CD recording for Naxos). He will also sing a concert in Moscow in February 2013. In 2013/2014, he will debut at Lyric Opera Chicago as Alfred in Strauss's Die Fledermaus and in 2014/2015 he will return to Covent Garden in a new production of Mozart's Idomeneo and to Opra Comique de Paris as Berlioz's Benvenuto Cellini under John Eliot Gardiner. Michael Spyres has recorded Rossini's La Gazzetta, Otello and Le sige de Corinthe for Naxos. His first recital CD was released in 2011. Rossinis Otello from the Bad Wildbad Festival will be released on DVD.

Matthew Rose, bass

Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden. For the Royal Opera his roles have included Polyphemus (Acis and Galatea), Masetto (Don Giovanni), Haraschta (The Cunning Little Vixen) and Colline (La bohme). In 2006, he made an acclaimed debut at the Glyndebourne Festival as Bottom (A Midsummer Nights Dream) for which he received the John Christie Award and has since sung the role at La Scala, Milan; the Royal Opera; the Opra National de Lyon and the Houston Grand Opera. Other roles include Nick Shadow (The Rakes Progress) at the Glyndebourne Festival and the Gothenburg Opera; Leporello at the

Jennifer Johnston, mezzo-soprano

A BBC New Generation Artist named by BBC Music Magazine as a Rising Star and by the Financial Times as the Face to Watch in Opera, Jennifer Johnston has received numerous awards including Second Prize in the Montserrat Caball International Singing Competition, two Susan Chilcott Scholarships and a Wingate Scholarship.

Michael spyres, tenor

Michael Spyres 2011/12 highlights included appearing at La Scala di Milano as Rodrigo in Rossini's La donna del lago under Roberto Abbado, a concert tour of Beethoven's 9th Symphony with the London Symphony Orchestra, Candide at the Opera di Roma, Edgardo in Lucia di Lammermoor with Minnesota Opera, Masaniello in Auber's La Muette de Portici in Paris (Oprain co-production with La Monnaie



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Glyndebourne Festival and in Santa Fe; and Mozarts Figaro for the WNO, at the Opra de Lille and at the Bayerische Staatsoper, Munich. His engagements this season include his debut at the Metropolitan Opera, New York as Colline; Sparafucile (Rigoletto) for the Royal Opera and Claggart (Billy Budd) at the English National Opera. In concert, he has appeared at the Edinburgh Festival, the BBC Proms, and the Mostly Mozart Festival in New York with engagements including the London Symphony Orchestra, the Los Angeles Philharmonic, the Dresden Staatskapelle, the BBC Symphony Orchestra, the London Philharmonic, LOrchestre Rvolutionnaire et Romantique, the Boston Symphony Orchestra and the Accademia Nazionale di Santa Cecilia. Recital appearances include the Brighton, Chester and Cheltenham International Festivals, the Concertgebouw in Amsterdam and Londons Wigmore Hall.

Rose is a prolific recording artist. In addition, his roles on DVD include Nick Shadow (The Rakes Progress) and Mr. Flint (Billy Budd) from Glyndebourne and Polyphemus (Acis and Galatea) from Covent Garden, all on Opus Arte. Sir John Eliot Gardiner appears courtesy of Askonas Holt. ExCLusiVE TOuR MAnAGEMEnT Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 ///

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FRi, NOV 16 At 8PM

Brooklyn rider make it new

with Shara Worden, Gabriel kahane and dance heginbotham
Featuring new works commissioned by Carolina Performing Arts


Few young artists are as versatile as the four gentlemen of the string quartet Brooklyn Rider
New Yorker

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

Johnny Gandelsman, violin Colin Jacobsen, violin nicholas Cords, viola Eric Jacobsen, cello

Nov 16

FRi, 8PM


shara Worden Gabriel Kahane
By the artists It is an honor to be a part of this historic Carolina Performing Arts season. Initially excited by the celebration of one of the most iconic works in the history of music, we had to pause in order to consider the scope and content of our program; after all, what commentary can a string quartet offer on The Rite of Spring? We became excited by the pithy modernist mantra of Ezra Pound "Make it new!" For what age has this imperative not held true? The drive to create things anew has always been at the heart of our tradition, but modernism as a 20th-century construct suggested to us that the field of creation was more open than it ever had been before. While history and tradition were by no means to be ignored, the very range of possibility was blown open with the premiere of The Rite of Spring. If all bets were off with "Make It New, one of the results has been that composers have since expanded their playground of ideas globally and across the span of history. And yet, Stravinsky himself famously hated the very term modernism. While it is certainly true that each era can only know what it means to be of its time, perhaps one of Stravinsky's most enigmatic gifts to posterity was his role as chief provocateur (a role he likely relished, as the tone of the following quote seems to hint): ...what do we understand by the term modernism? In the past the term was never used, was even unknown. Yet our predecessors were no more stupid than we are. Was the term a real discovery? We have shown that it is nothing of the sort. Might it be a sign of decadence in morality and taste? Here I strongly believe we must answer in the affirmative... (from Poetics of Music, 1939) We also see the opportunity to connect with the work of another group that was very important to the modernist movement (and even more importantly to us, our namesake!), an artistic collective known as The Blue Rider (Der Blaue Reiter). A circle of like-minded artists and musicians founded by the Russian-born expressionist Wassily Kandinsky and active from 1911 to 1914, they were united by their quest to achieve heightened synthesis of artistic expression through abstraction of form and content. And so, just a few months prior to the premiere

Three Pieces for String Quartet (1914, rev. 1918) .......................................Stravinsky Danse ............................................................................................. (1882-1971) Excentrique Cantique String Quartet No. 2, Sz. 67 (1915-1917) ........................................................Bartk Moderato ........................................................................................ (1881-1945) Allegro molto cappricioso Lento The Alchemist (2011) ................................................................................ John Zorn ...........................................................................................................(b. 1953) INTERMISSION The Fiction Issue (2012) .................................................................... Gabriel Kahane (Carolina Performing Arts premiere; ........................................................(b. 1981) commissioned by Carnegie Hall) In the Early Days There Were Mornings Ascending the Steps Dressed, Shaved, Flip-Flopped In the Early Days (II) I Have to Write Badly for a Long Time He, the Poet, Had the Look (passacaglia) Some Nights (O Falling Body) In My Room Brooklyn Rider Gabriel Kahane, piano, reed organ, guitar and vocals Shara Worden, reed organ, guitar and vocals Chalk and Soot (2012) .....................................................................................Colin Jacobsen (Commissioned by Carolina Performing Arts).................................................... (b. 1978) Brooklyn Rider Shara Worden, vocals Gabriel Kahane, reed organ Dance Heginbotham: John Heginbotham, choreography John Eirich, dancer Allysen Hooks, dancer Lindsey Jones, dancer BJ Randolph, dancer Nicole Pearce, lighting design Maile Okamura, costume design Anne Dechene, production manager Disconnect, Delay, Lean and Release: .................................................... Shara Worden A ritual dance for the modern day (2012) .................................................(b. 1974) (Commissioned by Carolina Performing Arts)

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of The Rite of Spring in Paris, another artistic milestone of the century occurred in Munich the publication of the Der Blaue Rieter Almanac. This unleashed a highly influential collection of essays on art and music and illustrations featuring a stunning array of folk art from around the world, all of which sought to present a synthesized view of the avant-

garde to a wide-reaching audience. Our own Colin Jacobsen dives directly into this era as a springboard for his work, Chalk and Soot. Kandinsky's 1912 book of Dadaistic poetry and woodcuts, Klnges (German Sounds) sought to engage the imagination with the inner meaning of words and visuals. Colin's work explores the sound of words emptied

of their quotidian meaning. Honoring the central connection of dance and Stravinsky, Colin's work will include choreography by Brooklyn-based John Heginbotham featuring his dance company, Dance Heginbotham, also drawing some of its visual cues from Kandinsky's Klnges. Inspired by the living connections between artistic mediums, we feel an affinity with the tenants of The Blue Rider and the potent concoction of music, dance and visual art which comprised The Rite of Spring. Living in the pluralistic artistic mecca of Brooklyn, we count amongst our friends and collaborators musicians from many different musical worlds as well as dancers, writers, visual artists, etc. We are motivated equally by the historical quartet tradition as well as the creative possibilities of the present as a way to help re-imagine the string quartet as a vital 21st-century ensemble. And so, tonight's concert will alternatively explore seminal works from the period directly following The Rite of Spring and offer a representation of what the phrase Make it New! means in the present context of Brooklyn Rider and our circle. We are grateful to all of our friends who are part of this program such a gathering might only be possible in the context of this extraordinary season. Nicholas Cords

Three Pieces for string Quartet (1914, rev. 1918) igor stravinsky
The Three Pieces for String Quartet were written in 1914, just a year after the monumental Rite of Spring, and revised in 1918. Representing an austere turn away from the complexity and grandeur of Firebird, Petroushka and The Rite, these miniatures foreshadowed much of Stravinsky's later direction towards a neo-classical approach (a term which he found completely meaningless his preferred description was Apollonian principles), which drew on sources ranging from the Renaissance to the classical period. Stravinsky himself acknowledged that these pieces, written in just three short days, were a pivotal moment in his compositional output. He later added titles to these movements when they were orchestrated some years later. The first, Danse, evokes a minimal Russian folk



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dance style. The second, Excentrique, was "inspired by the eccentric movements and postures of the great clown, Little Tick," whom Stravinsky witnessed in London. The last, Cantique, was described by the composer as "choral and religious." - Nicholas Cords

role model for composers to reflect their surroundings and to be a wholly authentic creator at once. Speaking of his experiences with his friend and fellow composer Zoltn Kodly, Bartk stated: "In our case it was not a question of merely taking unique melodies and then incorporating them into our works. What we had to do was divine the spirit of this unknown music, and to make this spirit the basis of our works. According to the way I feel, a genuine peasant melody of our land is a musical example of a perfected art. I could consider it as much a masterpiece, for instance, as a Bach fugue or a Mozart sonata." The second string quartet of Bartk was written between 1915 and 1917, a period which saw the large-scale wartime upheaval of Europe. Kodly was to characterize the three movements of the second quartet as follows: 1. A Quiet Life 2. Joy 3. Sorrow. I might humbly suggest that the second movement captures a frenetic and feverish energy, with percussive ostinatos that suggest something more unsettled than the feeling of joy per se. The flavor of the movement is likely influenced by Arabic folk music Bartk heard while on a trip to Nigeria in 1913. The last movement's falling note pattern evokes a traditional Hungarian lament. Nicholas Cords

The Alchemist (2011) John Zorn

The Alchemist a true and faithful chronicling of the esoteric spiritual conferences and concomitant hermetic actions conducted by Her Majesty's Alchemist Dr. John Dee and one Edward Kelley invoking the Nine Hierarchies of Angelic Orders to visible appearance, circa 1587. A trip through an Alchemist's laboratory. A sance invoking angelic orders. Virtuosic lyricism, numerology, prayers, canons, contrapuntal complexity, alchemical procedures (distillation, calcination, crystallization, sublimation, purification, rotation) and the ghost of a fugue. John Zorn

string Quartet no. 2, sz. 67 (1915-1917) Bla Bartk

While many consider Stravinsky to be the towering musical genius of the 20th century, Bla Bartk, whose music was largely neglected in his own lifetime (a far cry from Stravinsky's international notoriety), occupies an equal place in history. Certainly the six string quartets of Bartk have become some of the most deeply cherished works to come out of the last century. Much has been said about Bartk and the case he made towards creating music with a nationalistic imprint. Bartk was undoubtedly one of the great musical explorers and delved heavily into the study of folk music of his homeland, Hungary, and its surrounding areas, Turkey, and North Africa. He is frequently referred to as the father of ethnomusicology. But it is important to point out that Bartk's compositional art was not achieved through a literal transplantation of the folk music that he assiduously collected; Bartk's particular genius comes in his gift of musical sublimation and assimilation. Retaining the flavor and feel of his environment, Bartk was to establish a deeply influential

The Fiction Issue (2012) Gabriel Kahane

As a songwriter, Ive always been preoccupied with exploring the limits of narrative economy in the context of a three- or fourminute song. My favorite lyricists, like my favorite short story writers, have a way of distilling a tale into carefully selected details, images or resonances which may not on the surface provide a linear story, but when taken together, form a richly coherent through-line. This summer, while I was upstate at Yaddo ostensibly to write this piece, I couldnt seem to squeeze out a note of music. I had been sharing breakfasts with the august poets Stephen Dunn and Jonathan Aaron, and perhaps inspired by their company, found myself daily writing longhand prose poems which, after Id returned to Brooklyn, revealed themselves to be sketches for the text of The Fiction Issue.

2012/13 / / / carolina performing arts 33



I first met Brooklyn Rider in Chicago, where we met working with the Silk Road Ensemble and the Chicago Symphony Orchestra. I was fetching coffee, making sure everyone was sufficiently caffeinated and where they were supposed to be, while they worked with Yo-Yo Ma, Osvaldo Golijov, and the many incredible members of the Silk Road Ensemble. I remember seeing Johnny for the first time, with hair that was like an afro and sky-high, and then hearing from the Chicago Symphony staff what an incredible violinist he was. Eric was always making me smile; Colin was serious and focused; Nick was warm, welcoming, and always smiling. The CSO staff had a huge amount of respect for the group, and it was a thrilling time to be in Chicago. That time is a snapshot of how Brooklyn Rider operates. They weave a web of curiosity, entrepreneurship and opportunity. They constantly seek out new collaborations and experiments, picking up new friends and ideas and rolling them all together. The Knights is an edgy chamber orchestra that has grown out of Brooklyn Rider, widening its arms to include more of their audacious musical colleagues and friends. In their own words, the quartet's name is inspired in part by the cross disciplinary vision of Der Blaue Reiter (The Blue Rider), a pre World War I Munich-based artistic collective whose members included Vassily Kandinsky, Franz Marc, Arnold Schoenberg and Alexander Scriabin. In the spirit of experimentalism and hunger for new ideas, Brooklyn Rider is the go-to ensemble for the worlds most noted composers and musicians, including Steve Reich, Philip Glass and, of course, Bela Fleck. Brooklyn Rider has performed at SXSW (South by Southwest), Carnegie Hall and the Library of Congress, equally commanding in every setting. Their energy is contagious, and a welcome shot in the arm to the classical music world. During their last residency with the Knights at Carolina Performing Arts in January, I brought a few of our KidZNotes kids to hear the group perform and meet them after the concert. Even backstage the group brought the same exuberance, love and joy to the kids, making our youngest girls giggle with the silly sounds a violin can make, and our competitive young boys puff up with the pride that one day theyll rock their cellos as hard as Eric does. Were lucky to have Brooklyn Rider back in Carolina this will be a concert you will never forget. Katie Wyatt is a violist and Founding Executive Director for KidZNotes. ///

Musically and narratively speaking, the piece is a continuation of some ideas that I began exploring in my orchestral song cycle Crane Palimpsest, which offered, through settings of Hart Cranes poem to Brooklyn Bridge and my own responses to it, twin reflections on the ecstatic geography of New York. Like that work, The Fiction Issue is preoccupied with reconciling disparate musical languages: one that is immediate, earthy, grounded in functional harmony, adjacent to pop song if not concurrent with it; and another that is in the tradition of contemporary concert music: harmonically ambiguous or fluid, concerned with the exploration of color and timbre, and so on. But where Crane found me singing both parts of the binary, in The Fiction Issue, I have had the great privilege of sharing vocal duties with and writing for Shara Worden, one of the finest and most emotionally immediate singers working today. This brings me back to my opening gambit about narrative economy. Id initially conjectured that whereas a threeminute song was rather like a short story, a twenty-some-odd-minute work for two voices and ensemble would allow me to explore novelistic horizons. But what Ive ended up writing seems more to me like twin character studies: modest in scope, but I hope emotionally detailed. Lastly: its a great privilege to be working with and writing for Brooklyn Rider, with whom Ive shared a musical orbit for the last half-decade without actually having crossed paths professionally until now. Ive written quite a bit for a handful of string quartets over the last couple of years, and its a great pleasure to tailor quartet writing to players as brilliant and idiosyncratic as those of Brooklyn Rider. - Gabriel Kahane

Chalk and Soot (2012) Colin Jacobsen

Please see introductory note, page 33.

Disconnect, Delay, Lean and Release: a ritual dance for the modern day (2012) shara Worden
What does a ritual for spring look like in this day and age? We live in a time when a community of people can exist internationally through the internet. Dancing and



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making music are activities we watch on TV, not something we participate in with our neighbors in a nearby square. Nature has become an abstract concept to the common westerner. We drive cars with the windows rolled up and the air conditioner on full blast. Our food comes wrapped in plastic and any fruit or vegetable we want is available at any time of the year. Our water comes in bottles from faraway countries or if from the tap, it appears in the faucet from unknown sources. The reality of global warming is still viewed by most Americans as a controversial subject. Nature is something we seem to want to control or engineer. In celebration of 100 years of Igor Stravinsky's The Rite of Spring, I am reflecting upon our relationship to the earth with an awareness that my way of life is full of philosophical contradiction and contains an inherent dependency upon products and energy supplied to me by large corporations, many of whom care about the bottom line profit above all else, including nature. I don't write songs to facilitate my neighbors dancing and I can never think of a song to sing at a party. I admit that I would like to escape some of the lessons nature would teach me; that I cannot always have what I want when I want it, that there is something greater than I, that all things on earth are born and die, that to live is to experience great beauty and also to suffer. Disconnect, Delay, Lean and Release is my humble musical meditation upon the subjects of community and modern rituals. The writing of it has felt like a tenuous attempt to further open myself up to the lessons that nature would teach me. I dare say, she will teach me whether I want to learn or not. This is an offering, a small gesture of surrender to her great and undeniable power. Shara Worden

by Stravinsky, Bartk, and Gabriel Kahane as well as world premieres by Colin Jacobsen, Shara Worden, Vijay Iyer and John Zorn, stopping at The University of North Carolina at Chapel Hill, where Brooklyn Rider continues its three-year residency and participates in UNCs Rite of Spring at 100 series. Brooklyn Rider will also participate in the premiere of a new work by Kahane at Carnegie Halls Zankel Hall, as well as WQXRs Beethoven Remix at the Greene Space. This season, the quartet begins its ongoing project, The Brooklyn Rider Almanac, for which it commissions composers from various genres to write short, art-inspired works for string quartet. In January, Brooklyn Rider will premiere new compositions by Nik Brtsch, Padma Newsome, Greg Saunier, Ethan Iverson, and Bill Frisell at Dartmouth College. The quartet will participate in a recording project with 14-time Grammy-winner Bla Fleck, appear at Chicagos Mandel Hall and Atlantas Schwartz Center, and embark on a second Asia tour in April 2013. The quartet has been increasingly active in the recording studio, including the muchpraised Brooklyn Rider Plays Philip Glass on the composers Orange Mountain Music label. Violinist Johnny Gandelsman launched In A Circle Records in 2008 with the release of Brooklyn Rider's eclectic debut recording, Passport, followed by Dominant Curve in 2010 and Seven Steps in 2012. A longstanding relationship between Brooklyn Rider and Kayhan Kalhor resulted in the critically acclaimed 2008 recording, Silent City.

to compose and arrange pieces both for the Ensemble and for other groups. Mr. Jacobsen is a co-founder along with his brother, cellist and conductor Eric Jacobsen, of two ensembles whose dynamism in programming and performance is helping to reimagine the possibilities inherent in the string quartet (Brooklyn Rider) and orchestral (The Knights) mediums. Brooklyn Riders album Passport was featured as one of National Public Radios top classical picks for 2008 and The Knights have recorded two albums for Sony Classical and toured to Europe with soprano Dawn Upshaw. Jacobsen has performed with the Chamber Music Society of Lincoln Center and at Bargemusic, and is a member of the Metropolitan Museum Artists in Concert. He has collaborated with musicians such as Emanuel Ax, Joshua Bell, Don Byron, Christina Courtin, Kim Kashkashian, Mark OConnor, Phillip Glass, Steven Isserlis, Christian Tetzlaff, Mitsuko Uchida and Jan Vogler, among others. Mr. Jacobsen plays a 1696 Joseph Guarneri filius Andreae violin and a 2008 Samuel Zygmuntowicz violin.

Gabriel Kahane, composer/piano/ reed organ/guitar/vocals

Gabriel Kahane is not part of a scene. He writes string quartets and musicals and pop songs, but what unites all of his musical efforts is the desire to communicate honestly and without pretense. On his sophomore LP Where are the Arms, Gabriel brought together an all-star band including Rob Moose (Bon Iver, Antony and the Johnsons, The National), Casey Foubert (Sufjan Stevens, Richard Swift, Pedro The Lion) and Matt Johnson (Jeff Buckley, Rufus Wainwright). Anthemic pop choruses are followed by intricate brass cadenzas in odd time signatures, and folky refrains are interlaced with tightly wound flute filigrees. Launched by his 2006 song cycle Craigslistlieder, Kahanes rapid ascent as a composer of concert works continues to bloom. 2011/12 saw the premiere of an orchestral song cycle with Kahane as soloist alongside the American Composers Orchestra at Carnegies Zankel Hall, and the premiere of The Red Book, written for the Kronos Quartet. Little Sleeps Head Sprouting Hair in the Moonlight,

Colin Jacobsen, composer/violinist

Colin Jacobsens wide-ranging musical activities are part of a generational wave that is taking classical music into a much broader context. As a soloist, he appears with orchestras worldwide. As a touring member of the Silk Road Ensemble since its conception by Yo-Yo Ma 10 years ago, Mr. Jacobsen has been part of a creative cauldron that has continually pushed him to expand his boundaries. Through exposure to the incredible sound worlds of musicians like Persian kemanche virtuoso Kayhan Kalhor, vocalist Alim Qasimov and pipa player Wu Man, he has been inspired

Brooklyn Rider
Praised for its stunningly imaginative performances (Lucid Culture), the adventurous, intrepid string quartet Brooklyn Rider combines a wildly eclectic repertoire with a gripping performance style that continues to attract legions of fans and draw critical acclaim from classical, world and rock critics. Brooklyn Riders 2012/13 season begins with a fall tour that presents works

2012/13 / / / carolina performing arts 35

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a cello sonata-cum-song cycle written for Alisa Weilerstein, was heard in a concert for Lincoln Centers Chamber Music Society with the composer as pianist and singer. 2012/13 brings to life a full-length musical, February House, for which Kahane wrote music and lyrics. This appears at the Long Wharf Theater in New Haven and New Yorks Public Theater, which commissioned the work. Gabriel has also been commissioned by the Signature Theater in Arlington, Va., and by the Williamstown Theater Festival.

tion, Mertz Gilmore Foundation, Foundation for Contemporary Arts, and the Brooklyn Arts Council.

John Heginbotham, choreography

Originally from Anchorage, Alaska, John graduated from The Juilliard School in 1993. After graduating, he danced in the companies of Susan Marshall, John Jasperse, Rebecca Stenn, Janis Brenner, Allison Chase, David Neumann, Ben Munisteri, Stanley Love, Vanessa Walters, Pilobolus Dance Theater and Pam Tanowitz before joining the Mark Morris Dance Group (MMDG) in 1998. During his 14-year career with MMDG, he performed across the US and internationally with artists including Mikhail Baryshnikov, Yo-Yo Ma, Emanuel Ax, The Bad Plus and Zakir Hussain, and with opera companies including The Metropolitan Opera, New York City Opera and the English National Opera. As a teacher, John offers dance master classes in the US and abroad and has taught at institutions including Princeton University, the University of California-Berkeley, George Mason University, the University of Illinois at Urbana-Champaign, the University of Washington and The Laban Centre in London. He is currently on the faculty at the Mark Morris Dance Center and is a founding teacher of Dance for PD, an ongoing collaboration between the Mark Morris Dance Group and the Brooklyn Parkinson Group. In 2011, John founded the performance group Dance Heginbotham.

John Zorn, composer

Drawing upon his experience in a wide variety of music, John Zorn has created an influential body of work that defies academic categories. Born and raised in New York City, he is a central figure of the Downtown Scene, incorporating a huge community of creative musicians into various compositional formats. His work is diverse and remarkably eclectic and draws inspiration from art, literature, film, theater, philosophy, alchemy and mysticism as well as music. He founded the Tzadik label in 1995, runs the East Village performance space The Stone and has edited/published five volumes of musicians writings under the title ARCANA. He has received the Cultural Achievement Award from the National Foundation for Jewish Culture and the William Schuman Prize for composition from Columbia University, was inducted into the Long Island Hall of Fame by Lou Reed in 2010 and is a MacArthur Fellow. In 2012, he was given the honorary doctorate Magister Artium Gaundensis.

the moniker My Brightest Diamond, she has released three albums on Asthmatic Kitty Records. The most recent, All Things Will Unwind, is a chamber pop album inspired by Detroit. Ms. Worden has composed music for plays by Adam Rapp and Andrew Ondrejcak and music for The Brooklyn Youth Chorus, yMusic and violist Nadia Sirota. She has collaborated with such artists as David Lang, The Decemberists, Sufjan Stevens, David Byrne, Bryce Dessner (of The National), Sarah Kirkland Snider and Matthew Barney, and has performed at Carnegie Hall, The Sydney Opera House, Lincoln Centers Allen Room and with the Indianapolis Symphony Orchestra. Wordens artistry seems to transcend music. On stage she evokes as much Martha Graham as Edith Piaf, and can be found collaborating with visual artists (Matthew Ritchie) and filmmakers (Matthew Barney, Murat Eyuboglu) alike. Where worlds are colliding, there is Shara, a zeitgeist for a growing movement of experimental musicians eager to bend the borders of artistry and genre. Wordens latest offering, All Things Will Unwind, draws inspiration from urban Detroit, her new home. More folk-inspired than much of her recent work, the new album addresses the juxtaposition of life and death, class and race, pantries and politics, as heard through the mesmerizing lullaby of a new mother. ExCLusiVE MAnAGEMEnT FOR BROOKLYn RiDER: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 ///

shara Worden, composer/ reed organ/guitar/vocals

Shara Worden received a BA in opera from the University of North Texas and studied composition with Padma Newsome. Under

Dance Heginbotham
Founded in 2011, Dance Heginbotham is a performance group devoted to the presentation of dance and theatrical work, created by Brooklyn-based choreographer and performer John Heginbotham. The work of the company features highly structured, technically rigorous and theatrical choreography, frequently set to the music of contemporary composers. The company had its world premiere in January of 2012 on the Millennium Stage at The John F. Kennedy Center for the Performing Arts and recently had its New York premiere at the Baryshnikov Arts Center, followed by a week-long run at Jacobs Pillow Dance Festival. Dance Heginbotham has received support from several organizations, including the Jerome Robbins Founda-



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2012/13 / / / carolina performing arts 37

tUe, NOV 27 At 7:30PM

Chucho Valds Quintet

Global vIEwS


Simply jaw-dropping
National Post



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Program Notes live with david Garcia and Charanga Carolina 6pm, Nov. 27 | Gerrard Hall

Nov 27

tUe, 7:30PM


Program to be announced from the stage. masters including Herbie Hancock, Dizzy Gillespie, Wynton Marsalis and Chick Corea. Born in Quivicn, Cuba, in 1941, he is one of Cubas most famous musicians. His illustrious career has garnered him six Grammy wins and 16 Grammy nominations over the past three decades. In 1972, he formed the influential Latin jazz band Irakere, with an explosive mix of jazz, classical music, traditional Cuban rhythms, funk and rock featuring star players Paquito dRivera (saxophone) and Arturo Sandoval (trumpet). Chuchos recordings include Lucumi and Solo Piano (2011), Chuchos Steps (2010),

Chucho Valds, piano Yaroldy Abreu Robles, congas Dreiser Durruthy Bambole, bata Rodney Barreto, drums Gaston Joya, bass

Jazz Bata (2007), Fantasia Cubana: Variations on Classical Themes (2002) and Live at the Village Vanguard (2000). His 2010 Grammy Award for Juntos para Siempre saw him collaborate with his father, Bebo Valds, a major player on the Cuban jazz scene in his own right. Chuchos reputation as one of the greatest living Cuban jazz pianists has earned him appearances on the great stages in music, including Carnegie Hall, The Kennedy Center and The Hollywood Bowl. ///

Chucho Valds, piano

Hailed as "the dean of Latin jazz" and "one of the worlds great virtuosic pianists" by The New York Times, multi-Grammy Award-winning Cuban pianist, bandleader, composer and arranger Chucho Valds has made more than 80 recordings, appearing with countless jazz

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There are many examples across cultures and history of important musical families. The Shankars, Bachs, Marleys, and Valds are only a few examples whose musical lineages span at least two generations and whose musical impact stretch beyond one genre or style. Chuchos father Bebo helped revolutionize Cuban big band music starting in the early 1940s, contributing significantly to the emergence of big band mambo and Latin jazz. Like his father, Chucho studied Western classical music and piano while soaking in the Cuban popular music and jazz that filled his home and culture. Born Jess Valds in Quivicn, a city west of Havana in the recently created province known as Mayabeque, Chucho made his first important contribution to Cuban music by helping establish the band at the Havana Musical Theater. This musical organization would be the first of several Chucho would lead into new and innovative areas of Cuban music history. My first real introduction to Chucho Valds was in the late 1990s when I interviewed Juan Pablo Torres, an important Cuban musician in his own right. Juan Pablo and Chucho were members of the short-lived Orquesta Cubana de Msica Moderna, whose recordings from the late 1960s had just been re-released on CD. These recordings clearly indicate the kind of musical experimentation that Chucho would continue to pursue as founder and leader of the great Cuban musical institution Irakere, which formed in 1973. Like Art Blakeys Jazz Messengers (no doubt the inspiration for the name of Chuchos current project Chucho Valds and the Afro-Cuban Messengers), some of the best modern Cuban musicians cut their teeth with Irakere. They include Paquito DRivera, Arturo Sandoval, and Carlos Emilio Morales. Under Chuchos musical vision and leadership, Irakere revolutionized Cuban popular dance music by synthesizing musical elements from Afro-Cuban folkloric drumming and popular dance music to jazz, rock, funk and electronic music. Listening to Irakeres recordings, especially from the 1970s, such as Valle De Picadura and Bacalao con pan, one hears heavy influences of jazz fusion from Miles Davis to the Yellow Jackets, but with a solid foot always in their Afro-Cuban musical roots. Organ, keyboards, electric guitar with wah-wah effect, and drum set meshes with congas, bat drums, montunos, and soneos. Rock back beats alternate with the cinquillo beat of the 19th-century Cuban dance music par excellence danzn. And the core of his musical endeavors from the 1960s and 1970s persists in the music of Chucho Valds and the Afro-Cuban Messengers. Drum set, congas, and bat interlock with double bass, piano, trumpet and sax, seamlessly moving between latin jazz, cool jazz, rumba, Dixieland, toques, and more. Its the kind of fluid musical brilliance unforced in its eclecticism that is the mark of master musicians led by one of the most visionary and artistically successful Cuban musicians of the 20th and 21st centuries, Chucho Valds. David Garcia is an associate professor in the UNC Music Department and Director of Charanga Carolina. ///



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2012/13 / / / carolina performing arts 41

The Nutcracker Carolina Ballet


SAt, dec 1 At 2PM & 8PM SUN, dec 2 At 2PM


one of the best story ballets of the past quarter century

The Washington Post



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SAt, 2PM & 8PM/SUN, 2PM

It is Christmas Eve in the toy shop of Herr Drosselmeyer, a mysterious man and marvelous inventor of toys; he is also the godfather of Clara Stahlbaum. Drosselmeyer is putting the finishing touches on the magical toys he is taking as presents to the Stahlbaums annual Christmas party. Meanwhile at the Stahlbaums house the final preparations for their party are taking place in the parlor as their children, Clara and Fritz, peek through the key hole with great anticipation to see what their parents are up to. Soon the guests arrive with their children and there is much rejoicing at the sight of the lighted Christmas tree. The adults greet one another amid excited speculation among the children about what is in the many packages. Dr. Stahlbaum divides the children for games and dances; some of the parents join in and soon the grandparents arrive at the party. Refreshments are served and, most important of all, presents are given out. Suddenly the room grows dark, taking on an ominous feeling. The children become momentarily confused and scared. Herr Drosselmeyer mysteriously appears and introduces his ward and nephew to Clara, and she is instantly smitten by him. Drosselmeyer proceeds to entertain the assembled guests with the most amazing magical illusions. At the end of his show he presents Clara with a beautiful Nutcracker that he made especially for her. In a fit of jealousy, Fritz snatches the Nutcracker out of Claras hands, breaking it in the process. Clara is heartbroken, but Frau Stahlbaum and Drosselmeyer console her. The nephew brings Clara a bed for the Nutcracker. She tucks the Nutcracker in and puts the bed under the tree. Dr. Stahlbaum and his wife lead all the guests in one final dance, Clara dancing with the nephew. The guests all depart and the family goes off to bed. As the room darkens, Drosselmeyer returns and fixes the Nutcracker with a magic wand. Clara enters the room at midnight in her nightgown. She goes directly to the Nutcracker and cradles him in her arms. There is a rustle, the Christmas tree lights flash off and on and giant mice take over the room. Frightened, Clara dashes to the sofa and huddles there. Suddenly all the mice are dancing around Clara. Everything seems to change before her eyes as the Christmas tree begins to grow and life-size toy soldiers come out of the hallway to fight with the mice. The Nutcracker, who has also grown to life-size, rises from his bed to lead the soldiers in battle and seems to be in command until the Rat King arrives to join the mice and fight the Nutcracker one-on-one. The Rat King gains the upper hand, and just as it appears that he is about to subdue the Nutcracker, Clara jumps off the bed and throws her slipper at him. He becomes momentarily distracted, turns and rushes at her at which point the Nutcracker has found the opening he needs to stab the Rat King with his sword and win the battle. Clara falls fast asleep on the Nutcrackers bed, which glides out of the room into the snowy evening. The Nutcracker turns into a handsome young prince as the Snowflakes dance and are tossed about by the Northwind.

deC 1/2


The curtain rises on twelve Chocolate Truffles. The Sugar Plum Fairy, who rules over this Kingdom of Sweets, makes a regal entrance and dances a charming variation to the tinkling celesta. The Truffles enclose her in a semicircle of love. Then leading the Truffles off, the Sugar Plum Fairy welcomes the full candy box: Chocolate and Coffee and Tea sweets, Candy Canes, Ribbon Candy and Gingerbread Cookies, and a lovely candy Butterfly. The young Prince and Clara enter, transported on a cloud. The Prince escorts Clara to the shore and introduces her to the Sugar Plum Fairy. He relates the story of the battle with the mice, and she congratulates him on the victory and escorts Clara to a throne. Clara is given numerous sweets to eat as she watches the entertainment. There follows a series of dances by characters of the candy kingdom, culminating in the grandest dance of all a pas de deux with the Sugar Plum Fairy and her cavalier. Just as the festivities in the Land of the Sweets have reached their peak, Herr Drosselmeyer again magically appears, takes Clara in his arms, and spins her round and round and round until we find her asleep on the sofa, with her arms wrapped around her treasured Nutcracker.

2012/13 / / / carolina performing arts 43



Carolina Ballets new production of Nutcracker, which had its premiere at Memorial Hall in December 2011, features a cast of more than 100 dancers and children accompanied by a live orchestra of classical musicians, stunning costumes and lavish redesigned scenery. New magic for the Party Scene (Act I) was designed by illusionist Rick Thomas and made possible by WRAL-TV. Young Claras godfather, Herr Drosselmeyer, makes toys come to life, people shrink and then reappear out of thin air, and characters levitate high above the stage. Watch as a Christmas tree grows to enormous heights to begin Claras journey to the Land of the Sweets, a truly magical place where it snows indoors, candy canes dance and boats fly. Let the holiday magic begin as Christmas unfolds through the eyes of a child.


ON the NUtcRAcKeR
I was in 8th grade, just a young ballerina, and I couldnt wait for my debut in Carolina Ballets The Nutcracker. I couldnt believe I was performing alongside these professional dancers in my young dancer world, it was a magnificent feat. I auditioned and was cast as a party girl and a gingerbread cookie. Going into the studio for rehearsals with the professional ballerinas of Carolina Ballet was exciting and fun. I instantly bonded with the dancer who played my father in the opening scene; we had a blast getting to know one another, laughing and dancing together. I remember the rehearsals, reviewing counts with artistic director Robert Weiss. I remember costume fittings, and the anticipation backstage before the first performance. I remember the adrenaline rush when I ran into the bright stage lights as a gingerbread cookie, and getting my photo taken with the sugar plum fairy after the show. It was all quitemagical, especially in the eyes of a young child. Years later, I have found that this production means a great deal to our community and touches each of us in some way. Bringing people together, young and old, providing an opportunity for families and friends to join in celebrating the joy and wonder of the season, The Nutcracker is certainly a holiday tradition for many. I hearken back to these memories from my childhood each time I hear the music or see the production. And while the memories of performing in The Nutcracker are incredibly warm, I have been afforded incredible opportunities in genres beyond the realm of classical ballet that have allowed me to grow and develop as an artist. The movement I am performing and creating now is so different from what I performed in The Nutcracker, yet that experience was a formative one in my journey toward becoming the artist I am today. It was the chance not only to dance and act, but also to learn and grow, gaining an understanding of professionalism, confidence and physical projection through movement. I am thankful for the experience with The Nutcracker, for all that it taught me and for the heartwarming memories it has given me. May you, too, create your own memories this holiday season at Memorial Hall. Tiffany Dysart Gay (11) is Artistic Assistant at Carolina Performing Arts and a member of Defero Dance Collective. As an undergraduate at Carolina, she was a leader of the Carolina Dance Initiative. ///

Carolina Ballet is one of Americas premier arts organizations, celebrating its 15th anniversary. Launched as the professional dance company of the Triangle region in 1998 under the direction of Artistic Director/ CEO Robert Weiss, the company has since garnered critical praise from the national and international media, staged 94 worldpremiere ballets, and toured internationally in China and Hungary. Weiss, former artistic director of Pennsylvania Ballet and principal dancer at New York City Ballet under the great George Balanchine, presents programs of traditional ballets by legendary masters and new works by contemporary choreographers. Highlights of the second half of Carolina Ballets 2012/13 season include An Evening of Lynne Taylor-Corbett (February 7-24); The Rite of Spring choreographed by Christopher Stowell, artistic director of Oregon Ballet Theatre (March 7-24); Jerome Robbins wonderful Fancy Free with Lynne TaylorCorbetts Carolina Jamboree accompanied by Chapel Hills Red Clay Ramblers (April 18-21); and a brand-new production of Giselle with the original choreography by Jules Perrot and Jean Coralli and additional choreography by Robert Weiss (May 16-19). ///



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2012/13 / / / carolina performing arts 45

driving force behind this areas jazz music scene

Durham Herald Sun

FRi, dec 7 At 8PM

Jazz for the Holidays

NC Jazz repertory orchestra

with James ketch, music director and special guest John Pizzarelli, guitar/vocals



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John Pizzarelli


deC 7

FRi, 8PM


Program to be announced from the stage.

James Ketch, music director/trumpet Jeff Bair, saxophone David Reid, saxophone Gregg Gelb, saxophone Aaron Hill, saxophone William Fritz, saxophone Lucian Cobb, trombone Caren Enloe, trombone George Broussard, trombone Michael Kris, trombone Jerry Bowers, trumpet Benjy springs, trumpet Leroy Barley, trumpet Ed Paolantonio, piano Baron Tymas, guitar Jason Foureman, bass steve Coffman, drums

studies at The University of North Carolina at Chapel Hill. The 18-piece orchestra features the finest professional jazz musicians in North Carolina. Individually, the NCJRO musicians have championed jazz all over the world and in the recording studio, clinic and classroom. Many of the musicians are educators serving institutions of higher learning. NCJRO has recorded three CDs: Holiday Blizzard (1997) and Duke Ellington A Centennial Collection and Benny Goodman The Swing Collection (1998). NCJRO is sustained by ticket sales, individual donor-patrons, and the North Carolina Jazz Foundation, which secures corporate and foundation support.

John Pizzarelli, guitar/vocals

World-renowned jazz guitarist and singer John Pizzarelli is one of the prime interpreters of the Great American Songbook and beyond. He devoted his RCA albums Dear Mr. Cole and P.S. Mr. Cole to music made famous by his hero, Nat King Cole. Pizzarellis extensive recordings include After Hours, Our Love is Here to Stay, Lets Share Christmas, John Pizzarelli Meets The Beatles, Kisses In The Rain, Let There Be Love, The Rare Delight of You, Bossa Nova, Dear Mr. Sinatra, the Grammy-nominated With A Song In My Heart, Rockin In Rhythm, and his latest album, Double Exposure, with tunes by some of the great pop songwriters of his generation. John has recorded with pop artists including James Taylor, Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones and Dave Von Ronk, and with jazz artists including his father Bucky Pizzarelli, Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco and Harry Allen. He joined Donna Summer, Jon Secada and Roberta Flack on the Grammy-winning Songs From The Neighborhood: The Music of Mr. Rogers. A veteran radio personality, Pizzarelli has also performed on national television shows such as The Tonight Show with Jay Leno, The Late Show with David Letterman, Live With Regis & Kelly, The Tony Danza Show, The CBS Early Show, Fox News Channel, the Jerry Lewis Labor Day Telethon and the Macys Thanksgiving Day Parade. He led a 40-member orchestra at Radio City Music Hall in Sinatra: His Voice, His World, His Way. His instructional DVD Exploring Jazz Guitar filled with demonstrations, lessons and anecdotes is available from Hal Leonard. Pizzarelli received the 2009 Ella Fitzgerald Award from the Montreal International Jazz Festival, joining a select group of past winners including Aretha Franklin, Tony Bennett and Harry Connick, Jr. ///

James Ketch, music director/trumpet

James Ketch studied music at Indiana State University (BS, 1974) and at the University of Illinois at Urbana-Champaign (MS, 1976). At UNC-Chapel Hill, he serves as trumpet instructor and director of jazz studies. He is a Summit Record recording artist (Next Set, 2009; A Distant View, 2012), associate director of the Savannah Music Festivals Swing Central Jazz Festival, artist-clinician for the Conn-Selmer Corporation, artist-faculty member for the Jamey Aebersold Summer Jazz Workshops, director of the Carolina Jazz Festival, and host of the North Carolina Regional Essentially Ellington High School Jazz Festival in conjunction with Jazz at Lincoln Center. Professor Ketch has served as chair of UNCChapel Hills Department of Music (20012004) and has been the recipient of three distinguished UNC teaching awards (Tanner, Bowman and Gordon Gray, and Chapman Family Teaching Fellowship). He serves as music director of the North Carolina Jazz Repertory Orchestra, president of the Jazz Foundation of North Carolina, Inc., and is on the board of directors of the newly formed Durham Jazz Workshop. He is currently at work on two book projects Jazz Trumpet Essentials: Straightforward Information to Develop Improvisational Skills and The Sound of Jazz: Exploring Individual Creativity and Group Communication with the Marcus Roberts Trio; Volume One The Blues.

////////////////////////////////////////////////////// nORTH CAROLinA JAZZ REPERTORY ORCHEsTRA

The North Carolina Jazz Repertory Orchestra (NCJRO), the states most celebrated jazz orchestra, has been delighting North Carolina audiences since its inception in 1993. NCJRO maintains a large library of repertory jazz featuring music from the Duke Ellington, Count Basie, Jimmie Lunceford, Woody Herman, Benny Goodman and Stan Kenton orchestras. The Orchestra also continues to celebrate the ongoing legacy of big band music by regularly performing music by Charles Mingus, Thelonious Monk, Thad Jones, Bob Mintzer and Tom Harrell, as well as staff writers William Fritz and Gregg Gelb. In addition to an active concert schedule, NCJRO maintains an active presence in jazz education, providing clinics and educational programs across the state. The Orchestra introduces children to jazz and big band music by presenting special programs in schools. Founded in 1993 by James Ketch and Gregg Gelb, NCJRO has established a name for itself as one of the great jazz repertory orchestras now playing. Music director and trumpeter James Ketch is a professor of music and the director of jazz

2012/13 / / / carolina performing arts 47

sarah p. duke gardens

in nature
Elegant Doris Duke Center for receptions, retreats & meetings Stunning outdoor locations for large or small gatherings Serene Memorial Garden Gift shop & cafe Lectures, classes & programs for all Membership program with wide-ranging benefits Doris Duke Symposium Saturday, November 17


ON Nc jAzz RePeRtORy ORcheStRA

The holiday season means a lot of things to many different people. It means family gatherings, great food, road trips, , old traditions and the promise of new beginnings in the coming year. And all of these are usually accompanied by a common thread: music. In the background at home or at the mall, on the car radio or at a concert, holiday classics usher in the season and remind us that good tidings and warm feelings are upon us. The season starts for me with the annual holiday performance of Jim Ketch and the North Carolina Jazz Repertory Orchestra. This year is special as the ensemble celebrates their 20th anniversary, and theyre joined by special guest world-renowned jazz guitarist and singer John Pizzarelli. There is no holiday swing like theirs and I can think of no better way to kick off the season. Jims inviting presence, his charm and his wit make a great companion to the seasonal favorites and classics performed this evening. His carefully selected pieces will entertain us and allow these accomplished musicians to demonstrate their great talent and love of jazz. There will be many messages coming from the stage tonight, but the clearest of all is that these terrific musicians love what they do. While I do not claim to be a jazz expert, I know that tonights program will be a slam dunk. These seasonal and classic selections are played by home-town musicians who have dedicated their lives to first-class performances in service to the citizens of North Carolina. You dont need to know the intricacies of a perfectly executed play to appreciate a gamewinning basket or touchdown. And you can still join in the thunderous applause when your team wins. Likewise, tonight youll tap your toe whether or not you can tell how many beats are in the measure. Youll hear works from by Duke Ellington, Count Basie and Benny Goodman, as well as more contemporary compositions and holiday classics. Its sure to capture the emotions that accompany this time of year: wistfulness, joy and hope. The evening promises to deliver a wonderful experience; creative and festive, it is sure to remain with you as your soundtrack to the season. The holidays are a time of traditions, and I welcome you to make the North Carolina Jazz Repertory Orchestra and Carolina Performing Arts a part of your season celebration. Im glad youre here and wish you all the happiest of holidays and all the best in the New Year.

420 Anderson Street Duke University Durham 919-684-3698

Sweet Life Photo

Dick Baddour served as UNC's Director of Athletics from 1997-2012. ///



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Emil Kang gave a captivating presentation to some of New Yorks most important arts journalists and cultural influencers.

This summer we had an amazing opportunity through Carolina Performing Arts to travel to New York to help promote The Rite of Spring at 100 project. The 2012-13 performing arts season is going to be one that is unprecedented, and we have had the joy of watching it come to life. Carolina Performing Arts has commissioned 12 new works and there will be 10 world premieres and two U.S. premieres throughout the season, performed by some of todays most renowned and daring artists. In May, we traveled to New York City with members of the Carolina Performing Arts staff as part of our internship with Ruder Finn, a public relations firm. During our trip, we worked to help spread the word of The Rite of Spring at 100 to some of the most respected arts writers in New York. The experience of attending a public relations event of this scale and helping it come to life was for us invaluable. Carolina Performing Arts gave us the opportunity to step outside of Carroll Hall and put our theoretical knowledge and education to work on a real life project. Emil Kang gave a captivating presentation to some of New Yorks most important arts journalists and cultural influencers. Emil truly expressed the essence that is Carolina to those who had yet to experience it firsthand. While we may be biased as students and fans of UNC,

we also sensed that he made the audience feel the magic, as Emil would say, that we experience through the arts at Carolina. That idea rang true later that night when we attended Juilliards senior dance recital. As we left the event, we recounted the talented students, but couldnt help to compare our experience to similar performances at UNC. In Chapel Hill, we have the opportunity to attend high-caliber performances in our own backyard, not to mention our surprise that Carolina Performing Arts seeks to make these performances more accessible to the student body. Whether we wear shorts and T-shirts or suits and dresses, we are welcomed to every performance for the same $10 student ticket price. It all goes to show what Carolina Performing Arts has to offer. Being in New York solidified our appreciation for what we have here. We are thrilled to be a part of this unprecedented season. Years from now, we will return to Chapel Hill as alumni and see what Carolina Performing Arts continues to offer this campus and community, and we have no doubt that this will always be a place where the performing arts thrive. Jordan Graves (13) and Josh Clinard (13) are students in the School of Journalism and Mass Communication, concentrating in Public Relations. ///


2012/13 / / / carolina performing arts 49

/ / / 2 0 1 2 / 13 iMPorTANT / / / / / / / iNForMATioN
PleASe MAke Sure We hAve your eMAil AddreSS oN File! Carolina Performing Arts (CPA)
regularly sends updated performance related information via email a few days before the event. Please be sure that the Box Office has your correct email address on file. You can update by calling the Box Office at 919-843-3333 or sending an email to

TiCkeT MAiliNG vS. TiCkeT PiCk uP

Your subscription tickets will be mailed during the week of June 48, 2012, before tickets to individual performances go on sale to the general public. Any ticket orders received fewer than 10 days prior to the performance will be held at Will Call, which opens 90 minutes prior to the published performance start time.

TiCkeT exChANGeS
Subscribers may exchange tickets free-of-charge up to 72 hours before the performance. Non-subscribers may exchange single tickets for a $10 fee. We ask that you notify the Box Office of your intent to make an exchange at least 72 hours prior to the performance. You can call or email during normal business hours at 919-843-3333 or CPAtixquestions@ The value of the ticket(s) may be applied to the purchase of another performance or will be held as a CPA credit until the end of the 12/13 season. Credit must be redeemed by April 27, 2013. For information about exchanging tickets, please call the Box Office at at 919-843-3333 or email

loST or MiSPlACed TiCkeTS

Call the Memorial Hall Box Office at 919-843-3333 to have duplicate tickets waiting for you at Will Call. Duplicate tickets cannot be mailed.


Several discount options are available to UNC-Chapel Hill faculty (active and retired) and staff. Save up to 25% off the general public ticket prices when purchasing one of our Series Subscriptions or a Create Your Own package. Faculty and staff may order through the website or direct from the Memorial Hall Box Office. Please note: A valid UNC OneCard must be presented at the time of purchase to receive these discounts.

uNC STudeNT TiCkeTS Are JuST $10

UNC-Chapel Hill student tickets to Carolina Performing Arts performances are just $10. A portion of each students fees supports this ticket price, so it is offered exclusively to Carolina students. A valid UNC OneCard must be presented to receive the student ticket price. Dont miss this once-in-lifetime opportunity.

TiCkeT doNATioNS/uNuSed TiCkeTS

Unused tickets may be donated to CPA as a taxdeductible contribution until the published start time of the performance. Unused tickets that are returned after the performance are not eligible for a CPA credit or taxdeductible contribution.

GrouP TiCkeTS
Groups of 10 people or more receive discounts ranging from 10% to 25% off the general public ticket price. All group tickets must be purchased together and in advance by calling the box office at 919-843-3333 or by sending your request to Group ticketing requests are subject to availability.

Due to the nature of performing arts, programs and artists are subject to change. If an artist cancels an appearance, CPA will make every effort to substitute that performance with a comparable artist. Refunds will be offered only if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable. CPA will not cancel performances or refund tickets because of inclement weather unless the University of North Carolina at Chapel Hills campus closes.
50 919-843-3333

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Wheelchair-accessible seating is available. Please advise a Box Office sales associate of your needs when you purchase your tickets. Memorial Hall is equipped with infrared listening systems provided free of charge. We have a limited supply of headsets that should be reserved in advance through the Box Office.

Once a performance has begun, late seating opportunities are limited and may occur only during specific times. Be sure to plan your arrival time to allow for traffic/parking. Ticketed seating locations are not guaranteed once the performance begins. Refunds will not be given to latecomers.

eleCTroNiC deviCeS
Use of mobile phones, pagers, alarms and electronics of any kind is prohibited during performances. Even when silenced, these devices emit distracting light. If you are concerned about missing an emergency call, you may leave your name, device and seat location with an usher and he or she will alert you if a call comes through. Photography, videography and recording devices are prohibited during performances. Violation will result in ejection without reentry.

Children old enough to enjoy performances are welcome. A ticket must be purchased for any children attending a performance and the child must be seated where a parent or guardian can supervise them. Babes in arms are not permitted. So that all patrons may enjoy the performance, please hold discussions and texting until after the performance ends; refrain from rustling wrapping paper during a performance; and be modest with your use of fragrances when attending performances.


KPO Photo

Sitting inside the control room of Manifold Recording, it is easy to understand why this state-of-the-art music studio in Pittsboro is quickly becoming a destination for world-class artists and music lovers of all kinds. From the height of the ceiling to the cherry wood walls, every detail of the space unites form and function to create a recording environment that is as visually stunning as it is acoustically excellent. Set in the bucolic countryside just fifteen miles south of Chapel Hill, the studio is a musical Eden. For Michael and Amy Tiemann, the founders and visionaries behind Manifold, it is difficult to imagine the studio being located anywhere else. The creative community in the Triangle really inspired us to dream big, explains Amy, who in addition to her roles as co-owner and producer at Manifold is an award-winning author and educator. In a region brimming with artists and entrepreneurs, the Tiemanns envisioned the studio as an incubator a place for new collaborations, new ideas and new music. The couple fell in love with the area in 2000 after an invitation from the Triangle-based software company Red Hat to spend six months in Raleigh. Red Hat had just bought Cygnus Solutions, a company Michael founded that pioneered commercial support for free and open source software. Michael and Amy were living in California at the time and had no intention of moving, but as Amy

recalls, about six weeks after we came here, I told Michael I had found the house we were going to buy. Chapel Hill immediately felt like home. First we discovered all the wonderful people in North Carolina, Michael recalls. Then we discovered UNC and Carolina Performing Arts. Michael remembers attending performances with his mother, a confirmed Manhattanite and a longtime

where they will perform for two nights before heading to the Big Apple. The Mariinskys program is part of CPAs year-long celebration of The Rite of Spring at 100, which the Tiemanns have helped make possible through their generous support. In addition to funding Rite 100 performances, including 11 new works commissioned by CPA,


Chapel Hill is really a place where we are fully engaged in the artistic conversation at the world level.
arts devotee, shortly after Memorial Hall reopened in 2005. It was absolutely amazing to be able to take my mom to performances that were some of the best either of us had ever seen anywhere. While on a recent trip to New York City, Michael, who joined CPAs National Advisory Board this fall, was reminded of the high quality programming his family enjoys in Chapel Hill. Walking past Carnegie Hall, he spotted a poster promoting an upcoming program with Valery Gergiev and the Mariinsky Orchestra, one of the great orchestras of the world. Michael smiled knowing he already had tickets to see the orchestra at Memorial Hall, their gift supports educational opportunities with visiting artists for UNC students and faculty and the community at large. For Michael and Amy, CPAs focus on artistcommunity dialogue is an important reason why they support the program. The fact that we do commissions, that we create new things, that we invite artists here to lecture, to take a residence, to participate and to createIt has made [CPA and Chapel Hill] more than just a tour stop, Michael says. Chapel Hill is really a place where we are fully engaged in the artistic conversation at the world level. ///



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CAroliNA PerForMiNG ArTS SoCieTy



Comprised of unC-Chapel Hill alumni and friends, the national Advisory Board champions and supports the vision of Carolina as the nations leading university arts presenter. it is with profound gratitude that we thank these outstanding volunteers. Thomas F. Kearns, Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Richard A. Baddour, Chapel Hill W. Hodding Carter iii, Chapel Hill G. Munroe Cobey, Chapel Hill Peter D. Cummings, Palm Beach Gardens, FL James Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill Joan C. Huntley, Chapel Hill sally C. Johnson, Raleigh Emil Kang, Chapel Hill, ex-officio Betty P. Kenan, Chapel Hill Mary Friday Leadbetter, Singapore Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill scott Maitland, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josie Ward Patton, Chapel Hill Earl n. Phillips, Jr., Chapel Hill Wyndham Robertson, Chapel Hill sharon Rothwell, Ann Arbor, MI Michael shindler, Orlando, FL Chancellor Holden Thorp, Chapel Hill, ex-officio Michael Tiemann, Chapel Hill

Night after night, Memorial Hall is alive with the best music, dance and theater. Night after night, our donors make it all possible.
You can help maintain the artistic excellence you enjoy by becoming a member of the Carolina Performing Arts Society. Benefits include advance ticket purchase and free reserved parking for members beginning at the Silver level. unDERGRADuATE AnD GRADuATE sTuDEnT MEMBER: $35
All benefits and privileges afforded to Sponsoring Members Contribution fully deductible

PLATinuM TiER: $5,000-$9,999

All benefits listed for Gold Tier, plus: Opportunity to name a seat in Memorial Hall Access to the Pamela Heavner Gallery for your own private reception Non-deductible amount of contribution: $784

sPOnsORinG MEMBER: $125-$999

Priority purchasing period for subscriptions and individual tickets Invitation to an annual Carolina Performing Arts Society event Member recognition in our program book Subscription to Behind the Curtain newsletter Contribution fully deductible

THE DAViD LOWRY sWAin sOCiETY: $10,000-$14,999

All benefits listed for Platinum Tier, plus: Complimentary valet parking with exclusive drop-off and pick-up area Concierge ticket service with access to reserved seats for popular performances Non-deductible amount of contribution: $960

siLVER TiER: $1,000-$2,499

All benefits listed for Sponsoring Members, plus: First access to subscriptions and individual tickets Complimentary parking pass for the Morehead Planetarium lot Invitation to the exclusive season preview reception Non-deductible amount of contribution: $144


Sponsor a performance and enjoy a memorable night for you and your family and friends. All benefits listed for The David Lowry Swain Society, plus: Eight complimentary tickets to your selected performance with valet parking and reception privileges for your guests Opportunity to host a private pre-performance dinner for your guests in the Pamela Heavner Gallery Acknowledgment from the stage and in the performance program the night of the event Opportunity to meet the artist following the performance (depending on artist availability) Non-deductible amount of contribution: $1,664

GOLD TiER: $2,500-$4,999

All benefits listed for Silver Tier, plus: Complimentary reserved parking for Bynum-Steele lots Complimentary intermission receptions in the Pamela Heavner Gallery Non-deductible amount of contribution: $784

Gifts to Carolina Performing Arts entitle you to all benefits afforded donors to any University annual giving program.

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Do you want to make a lasting impact? The Carolina Performing Arts endowment provides critical funding each season, helping us bridge the difference between our ticket revenue and the expense of bringing world-class performers to Chapel Hill. Ticket sales alone provide only 45 percent of the total cost of presenting artists on our stages. Our endowment makes what we do possible. Help ensure high-quality programming, discounted student tickets and commissions for new works through a donation or a planned gift today. Future audiences will thank you.

CAROLINA PERFORMING ARTS SOCIETY ANNUAL GIFTS Contributions received July 1, 2011 to October 1, 2012. Performance Benefactors
($15,000 and above) The William R. Kenan, Jr. Charitable Trust Amanda Kyser Kimberly Kyser William and Sara McCoy Wyndham Robertson Charles Weinraub and Emily Kass

David Lowry swain society

($10,000 - $14,999) The Abram Family Munroe and Becky Cobey Jane Ellison Mr. and Mrs. James Heavner Dr. Joan C. Huntley Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Anne and Mike Liptzin Francine and Benson Pilloff Shirley C. Siegel Mark W. and Stacey M. Yusko

/////////////////////////////////////////////////////////////////////////// Leadership Gifts and Pledges

($500,000 and above) Munroe and Becky Cobey* Ellison Family Foundation Mr. and Mrs. James Heavner* Luther and Cheray Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust Anonymous William and Sara McCoy Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley F. Weiss* *Deferred gift Deceased

Endowed Funds
($100,000 and above) The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists. The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music. The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students. The James Moeser Fund for Excellence in the Arts supporting artists fees for the worlds most recognized and outstanding performers. The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

Platinum Tier
($5,000 - $9,999) Eleanor and James Ferguson Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn

Major Gifts and Pledges

($25,000 and above) Shirley J. Berger Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Elizabeth Willis Crockett Blanche Hamlet John W. Hughes III Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Amanda Kyser Georgia Carroll Kyser Kimberly Kyser Drs. Michael and Christine Lee Anne and Mike Liptzin Bobby and Kathryn Long Mr. and Mrs. Robert F. Murchison Florence and James Peacock Anonymous Paul and Sidna Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott Garry and Sharon Snook

Gold Tier
($2,500 - $4,999) Richard A. and Lynda B. Baddour Betsy and Fred Bowman Cliff and Linda Butler Hodding Carter and Patricia Derian Castillo-Alvarez Fund of Triangle Community Foundation Michael and June Clendenin Frederic and Jane Dalldorf Shirley Drechsel and Wayne Vaughn Frank H. Dworsky Mimi and James Fountain Dr. Harry Gooder and Ms. Sally Vilas Mr. and Mrs. William H. Grumbles, Jr. Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas Carol and Rick McNeel James and Susan Moeser William Morton Paul D. and Linda A. Naylor Phil and Kim Phillips Paula Rogenes and John F. Stewart Coleman and Carol Ross



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Sharon and Doug Rothwell Anonymous Robert H. and Jane McKee Slater Beverly Taylor Michael and Amy Tiemann Charles M. Weiss Brad and Carole Wilson

silver Tier
($1,000 - $2,499) James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh M. Robert Blum Stuart Bondurant and Susan Ehringhaus Robert W. Broad and Molly Corbett Broad James and Betsy Bryan Timothy Bukowski and Naomi Kagetsu Mr. and Mrs. Edmund S. Burke Leigh Fleming Callahan Michael and Diana Caplow Art Chansky and Jan Bolick Reid and Margaret Conrad Anonymous William and Barbara Dahl Mr. and Mrs. Douglas Dunnan Jo Anne and Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Pat and Jack Evans Raymond and Molly Farrow Jaroslav and Linda Folda Diane Frazier David G. Frey Dr. Rebecca Goz Robert and Dana Greenwood Anonymous Leesie and Bill Guthridge Ann and Jim Guthrie Roberta Hardy and Robert Dale Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Lisa and Emil Kang Mack and Hope Koonce Clara Lee Alice and Sid Levinson Memrie Mosier Lewis Judith Lilley in memory of Al Lilley Harriet and Frank Livingston Donald E. Luse Stephen J. and Karen S. Lyons Stanley R. Mandel Betty Manning Alice Dodds May Anne and Bill McLendon Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Barry Nakell and Edith Gugger Karl I. Nordling Newland and Jo Oldham Dr. Etta D. Pisano and Jan Kylstra Jolanta and Olgierd Pucilowski Dr. and Mrs. Harold Quinn Elizabeth Raft

2012/13 / / / carolina performing arts 55

/// 12/13

Steven Dubois and Kathleen Barker Sam and Angela Eberts Jerry and Adelia Evans Everette James and Nancy Farmer Stephen Farmer and Susan Steinberg Gail Fearing Patricia and Frank Fischer Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Maeda Galinsky Greg and Emily Gangi Kip and Susan Gerard Ann and David Gerber Mike and Bonnie Gilliom Lallie M. and David R. Godschalk in honor of Richard P. Buck Dr. James E. Godwin and Dr. E.A. Campbell Charles and Karen Goss Steve Gravely David and Debbie Hamrick Barbara and Paul Hardin Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Anne and Mike Liptzin Kenneth R. Hauswald Clark and Karen Havighurst David and Lina Heartinger Gerardo and Jo Heiss Hill Family Fund 2 of Triangle Community Foundation Charles Hochman and Phyllis Pomerantz Carol Hogue and Gordon DeFriese Joan and David Holbrook in honor of Professor Marvin Saltzman Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Beth Holmgren and Mark Sidell Elizabeth M. Holsten W. Jefferson Holt and Kate Bottomley Andrew and Charlotte Holton James and Elizabeth Hooten Mitchell and Deborah Horwitz David and Sally Hubby George William Huntley III Marija Ivanovic Drs. Konrad and Hannelore Jarausch Donald and Debra Jenny Dr. Norris Brock Johnson in honor of Ms. Beatrice Brock Chip Johnston Class of 1953 Joanna Karwowska in honor of your dedication and service to NetApp Hugon Karwowski John and Joy Kasson Moyra and Brian Kileff J. Kimball and Harriet King Lynn Knauff Gary and Carolyn Koch Michael and Maureen Kowolenko Anonymous G. Leroy Lail Ted and Debbie LaMay Barbara and Leslie Lang Ken and Frankie Lee Steven and Madeline Levine David Lindquist and Paul Hrusovsky Joan Lipsitz and Paul Stiller Robert Long and Anne Mandeville-Long Richard Luby and Susan Klebanow Mary R. Lynn Donna Cook and Matthew Maciejewski Samuel Magill Richard Mann Mr. and Mrs. Uzal H. Martz, Jr. Timothy Mason Bill and Sue Mattern James O. May, Jr. Keith and Robin McClelland Tim and Roisin McKeithan Daniel D. McLamb Benny and Ann Morse Charles Mosher and Pamela St. John Christopher and Helga Needes John and Dorothy Neter Paul and Barbara Nettesheim Elisabeth and Walter Niedermann Marilyn and David Oermann Patrick and Mary Norris Oglesby Dennis Organ Vickie Owens Michele Pas Joel and Victoria Pineles Robert and Marilyn Pinschmidt David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Susan Henning and Vikram Rao Bryna and Greg Rapp Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Louise A. Robinson Stephen and Esther Robinson Andrea Rohrbacher Margaret Rook Richard and Rebecca Rosenberg John Sarratt and Cynthia Wittmer Julienne Scanlon Robert Schreiner Carol and David Sclove Jennifer and Bill Selvidge Robert Seymour Michael and Andrea Shindler Robert Shipley Mr. and Mrs. Keith Silva Mark and Donna Simon Charles and Judith Smith Dana L. Smith Ed and Carol Smithwick Harriet Solomon John and Carol Stamm Jane and Adam Stein Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff Leslie and Paul Strohm James and Sandra Swenberg Angela Lisa Talton Ellyn and Jimmy Tanner Sumner and Charlotte Tanson Sally and Nick Taylor Colin G. Thomas, Jr. Audie and Janice Thompson Rollie Tillman Aubrey and Jeanette Tolley Carol Tomason

David and Susan Rosenberg Family Fund of the Triangle Community Foundation Michael and Susan Rota Lies Sapp Robert and Helen Siler Lynn Smiley and Peter Gilligan Robert H. Staton, Jr. John and Anne Stephens Mr. and Mrs. Alan C. Stephenson Drs. Kenneth and Mary Sugioka Kay and Richard Tarr Patti and Holden Thorp Diane Vannais and Charles Waldren Kay and Van Weatherspoon Alan Harry Weinhouse William Whisenant and Kelly Ross Jesse L. White, Jr. R. Mark and Donna Stroup Wightman John and Ashley Wilson

sponsoring Members
($125 - $999) Brigitte Abrams and Francis Lethem Anonymous Sindo Amago Pete and Hannah Andrews Robert Antonio Nancy Appleby and James Brenner Nina Arshavsky Catherine C. Ascott Ingram and Christie Austin Peter Baer Andrew Baird Larry and Vicky Band Linda J. Barnard Judith and Allen Barton John W. Becton and Nancy B. Tannenbaum Aysenil Belger Donna Bennick and Joel Hasen Alan and Marilyn Bergman Sue Bielawski Lewis Black Gloria Nassif Blythe Jack and Jennifer Boger Natalie and Gary Boorman Thomas and Betty Bouldin Donald Boulton Craig and Catherine Briner Lolita G. Brockington Frederick and Nancy Brooks Ken and Margie Broun Betsy Bullen Thomas W. and Gail W. Bunn Bob Cantwell and Lydia Wegman Carolina Home Mortgage Philip and Linda Carl Catharine Carter Charles B. Carver Heng Chu and Ming-Ju Huang Jay and Barbara Cooper Gehan Corea Joanne and Michael Cotter Richard and Connie Cox Timothy and Anne-Marie Cuellar Dr. and Mrs. James W. Dean, Jr. John and Tina Deason John and Jill DeSalva Robert and Nancy Deutsch Mr. and Mrs. Michael J. Donoghue Mike and Linda Dore



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M.E. Van Bourgondien Susan Wall R.H. and Barbara Wendell Marlene and Roger Werner Wellspring Fund of Triangle Community Foundation Harold and Kathryn Wiebusch Catherine B. Williams John W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard Silva Ron and Beverly Wilson Derek and Louise Winstanly Eliza M. Wolff Tin-Lup Wong John and Joan Wrede Anna Wu and George Truskey Virginia L. Wu Peter Crichton Xiques Duncan and Susan Yaggy Alex and Tamara Yamaykin David and Dee Yoder Betty York Ann B. Young

($5,000 - $9,999) Scott Garcia and Debbie McDermott* Thomas F. Kearns, Jr. Thomas S. Kenan III

($2,000 - $4,999) Elizabeth Bennett Terrell Boyle Patti and Eric Fast Paula Flood Dorothy Shuford Lanier Kay and Van Weatherspoon

(Under $2,000) Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn Katelyn Ander Steven B. and Elizabeth A. Ayers Linda Barnard Allen and Judith Barton Pat Beyle Susan Bickford Dolores Bilangi Lewis Niles Black Robin Lenee Broadnax Roy Burgess Brock Maria Browne Meredith Bryson in honor of Sandra Hardy Bryson Stephanie Bullins Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara Holland Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Brooke Crouter Dr. James W. Crow John, Lou Anne and Calleigh Crumpler Robert and Kathleen Daniel Elizabeth Chewning Deacon Robin Dial M'Liss and Anson Dorrance Woody and Jean Durham E. Harold Easter, Jr. Judith Eastman Elizabeth H. T. Efird Jane Ellison Sharon M. Emfinger Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Eleanor and James Ferguson Susan Ferguson Sandra Strawn Fisher in honor of William Beecher Strawn Mimi and James Fountain George Fowler John W. Fox Linda Frankel William Friday Harry Garland Rose Marie Pittman Gillikin

undergraduate and Graduate student Members

($35) Lauren Alexander Class of 2011 Geoffrey Geist Adrian Greene Laura Hamrick Katie Harris Marc Howlett Quinn Jenkins Hannah Martin Charles McLaurin John D. Millett Katey Mote Evan Shapiro Emily Simon Claire Thomson Hope Thomson Brendan and Tamara Watson Yuying Xie

Carolina Performing Arts staff Contributions

Jennifer Cox Raymond Farrow Butch Garris Mike Johnson Emil Kang Daniel D. McLamb Mark Z. Nelson Mark Steffen

Photo by Lauren McCay

For a complete listing of all annual fund donors, please visit



Contributions received as of October 1, 2012.

($25,000 and above) Robert and Mary Ann Eubanks Joseph and Beatrice Riccardo Mark W. and Stacey M. Yusko

2012/13 / / / carolina performing arts 57

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Mr. and Mrs. Vernon Rosen in honor of Wyndham Robertson and in memory of Josie Robertson Rebecca and Rick Rosenberg Andrew and Barbra Rothschild Carrie Sandler Bev Saylor Mary and Ernie Schoenfeld Ms. Marjorie Moses Schwab Evan Shapiro Foy J. Shaw Thomas Edward Sibley Mark Sidell Mrs. Sidney Siegel Nancy Howard Sitterson Jane McKee Slater Sarah Greer Smith Wiley Smith Harriet and Stu Solomon Gina Song Alan Clements Stephenson Laurence Stith, Jr. Warren and Sara Sturm Dr. Lara Surles John and Joe Carol Thorp Patti and Holden Thorp Mr. and Mrs. John L. Townsend III Caroline Ward Treadwell David Venable Jay and Leslie Walden Sheila Reneau Ward Shirley Warren in memory of Harold E. Warren Charles M. Weiss Alan Welfare Barbara Smith White Dr. Judy White Ronald White Tom and Lyn White Eliza M. Wolff Ruth Ann Woodley Ron and Ann E. Wooten Roger Chai Yu Douglas and Jacqueline Zinn *Deferred gift Deceased

Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Timothy Hefner Joyce Williams Hensley Sara Hill George R. Hodges and Katherine W. Hodges Elizabeth Myatt Holsten William James Howe John and Martha Hsu Dr. Joan C. Huntley Donald and Debra Jenny Mrs. Frank H. Kenan Sharon May Kessler Anonymous Kimball and Harriet King Jamie Kirsch Debby Klein Gary Koch Dr. Marcia Anne Koomen George and Brenda Koonce Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Teresa Wei-sy Lee Joycelyn Leigh Dawn Andrea Lewis W. Cooper and Lorie Lewis Judith Lilley Anne and Mike Liptzin Walker Long Dayna Lucas Richard B. Lupton Knox Massey Family Catherine Mast Carol and Kenton McCartney Lauren McCay William and Sara McCoy G.W. McDiarmid and Robin Rogers Adele F. Michal Solon and Joy Minton Melanie Ann Modlin Michele Natale Mark and Leslie Nelson Ellen O'Brien Stephen Andrew Oljeski Jamie and Sean O'Rourke Josie Ward Patton Florence and James Peacock John Atlas Pendergrass Kenneth Lawing Penegar Phil and Kim Phillips S. Davis and Katherine Phillips Cathy and William Primack Teresa Prullage John Allen Quintus Charles Ratliff, Jr. Anonymous in honor of Annadele Herman Margaret Ferguson Raynor Deborah and Ed Roach Wyndham Robertson Margaret Rook

All photos by KPO Photo unless otherwise noted.



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your oPiNioNS Are your TiCkeT
Your reaction and feedback at these events will help guide and shape the artists final productions.

The Life and Times of Chang and Eng

By Philip Kan Gotanda In cooperation with the First Year Seminars program and the Department of English, with additional support from the Teatro Latina/o Series. Master playwright Philip Kan Gotanda reworks one of his newest and epic plays, about the original Siamese twins, Chang and Eng Bunker, whose early lives were spent as a touring freak exhibition.

FEB 15/16 AT 8PM | sWAin HALL sTuDiO six THEATER

F To M To Octopus
By Sam Peterson A UNC student selection, featuring work by digital media designer Jared Mezzocchi Sam Peterson presents a surprising look at the process of changing gender.


If My Feet Have Lost the Ground

Torry Bend In collaboration with Raquel Salvatella De Prada, Jeanette Yew and Sarah Krainin An object theater performance with video, investigating the human in flight


The Elektra Project

Is this a tupperware party? Is that girl singing opera in the kitchen? Theres blood everywhere Haymaker and violinist/composer Jenavieve Varga of Chapel Hill band Lost in the Trees team up to build a new adaptation of Elektra. An American family. Bad dreams. Retribution. And matricide.

For more information, visit

REsTAuRAnT guide
Make a night of it! Visit one of these downtown restaurants for a pre-performance meal or a late-night drink after the show.
159 1/2 E. Franklin St., Chapel Hill | 919.967.5048 4711 Hope Valley Rd., Durham | 919.403.6285 122 S. Churton St., Hillsborough | 919.732.8662




211 Pittsboro St., Chapel Hill | 919.918.2735

Come and taste why we have been voted BEST by local readers polls 6 times and why our salsa has won FIRST place in 6 local salsa competitions.

The award-winning AAA Four Diamond and Forbes Four-Star Carolina Crossroads Restaurant and Bar joins the graceful traditions of the south with progressive new American cuisine. Executive Chef James Clark updates his menus seasonally to emphasize regional trends and to incorporate the freshest local ingredients.
Breakfast: 6:30am-11am Sunday Brunch: 11:30am-2pm Lunch: Mon-Sun 11:30am-2pm Dinner: Sun-Thu 5:30pm-9pm, Fri & Sat 5:30pm-10pm Bar Open: Mon-Sun 11am-11pm

Bin 54
1201-M Raleigh Rd.,Chapel Hill | 919.969.1155

Using only the highest quality ingredients, Bin 54 elevates classic steakhouse dishes to a new level of refinement. Staged in a warm contemporary setting, diners are offered glimpses of the woodfired grill, a canopied patio, and the temperature controlled wine room stocked with an extensive inventory of both eclectic and traditional selections.


1505 East Franklin St., Chapel Hill | 919.918.2545

460 W. Franklin St., Chapel Hill | 919.942.1800 120 Lowes Drive, Pittsboro | 919.545.2330

Award-winning handcrafted beers paired with fresh and creative fare. Casual and fun atmosphere.
Tue-Thu: 11am-12am Fri & Sat: 11am-1am Sun & Mon: 11am-11pm

Consistently awarded Four Diamonds by AAA and acclaimed by Conde Nast, Il Palio offers the finest Italian cuisine by Executive Chef Adam Rose and his staff. Seasonal menus showcase the freshness, excellence and diversity of NC's local farmers and artisan producers. Experience the elegant dining room, intimate bar, or casual outdoor seating. Call for reservations.


410 W. Franklin St., Chapel Hill | 919.967.2666


Call Amy Scott or Devon Semler at 919.834.9441 or email or

Voted best caterer in the Triangle by both Independent Weekly and Chapel Hill Magazine readers 2011 and 2012. Pita bread baked on site using local, certified organic flour for a fully Kosher pita.
Mon-Sat: 11am-10pm | Sun: 11am-9pm



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adv ert isement



Enjoy delicious soups, fresh tossed salads and hearty hot and cold sandwiches in a comfortable environment. Our breads, bagels, cookies and pastries, are baked fresh daily. Free wireless internet access is available.
Mon-Sat: 6am-9am | Sun: 7:30am-9pm

sHuLA's 347
One Europa Dr., Chapel Hill | 919.968.4900 Inside of the Sheraton Chapel Hill Hotel

137 E. Franklin St., Chapel Hill | 919.240.4411

Shula's 347 features only Angus beef, the most tender of all cattle breeds, for the incredible selection of steaks and burgers. Founded by legend Don Shula, the most winning football coach in history, Shula's 347 is an impressive display of memorabilia showcased on football leather covered walls and beautiful dark woods. Patrons can enjoy the finest of beef, delicate seafood, fan favorite appetizers, and desserts.

Everyone needs some R&R! Join us for 1/2 priced appetizers from 4-6pm Mon-Friday 1/2 priced wine bottles on Thursday
Mon-Wed: 11am-12am or Empty Thu-Sat: 11am-2am | Sun: 10am-12am or Empty

456 W Franklin St.,Chapel Hill | 919.933.1177 Mezze-Pidde-Bar-Lounge

3140 Environ Way, Chapel Hill | 919.240.7490

Classic Turkish and Ottoman cuisine in an authentic setting, where the flavors and atmosphere whisk you away to Turkey. The extensive menu is a culinary journey of centuries-old recipes. Global wines, bar and lounge.
Lunch: Fri-Sun: 11:30am-3:30pm Dinner: Tue-Thu 4:30pm-10pm

Raaga offers authentic Indian cuisine and a royal dining experience. After traveling the world for 35 years, our chef Durga Prasad has made Chapel Hill his home. Our world-renowned chef provides you with a unique dining experience.
Lunch: Mon-Fri: 11am-2pm, Sat-Sun: 12pm-3pm Dinner: Mon-Sun: 5pm-10pm
(reservations recommended)

306-D W. Franklin St., Chapel Hill | 919.969.6600

Fine Italian & Mediterranean cuisine with outdoor patio seating. We also offer early dinning specials from 4pm to 6pm daily.
Lunch: 12pm-3pm | Dinner: 4pm-10pm Late Night: 10:30pm-2:30am

2012/13 / / / carolina performing arts 61

lAST Word
ALL THE WORLD IS A sTAGE BY ROn sTRAuss ///////////////////////////////////////////////////////////////////////////
Carolina seeks to prepare students for the world stage to send them out into the world ready to learn, to discover, to serve, and to innovate. At UNC, we perform this role not only through academics, but through a diverse range of programming, activities, and opportunities both worldwide and here on campus. Carolina Performing Arts continues to shine as a campus leader in engaging students and the community with world cultures and traditions. Im continually impressed by how, season after season, Carolina Performing Arts creates a lineup that inspires the imagination, explores world traditions, and introduces audiences to some of the most influential works across generations from Stravinskys The Rite of Spring to the Bolshoi Ballet to the Silk Road Ensemble with YoYo Ma. They share these works not only through performances, but also through a wide range of programming. While the performance troupes are in Chapel Hill, they are often invited to deliver lectures, conduct workshops with students, or participate in panel discussions, markedly widening the reach that these world-class artists have on the campus. Through performances and outreach activities, we come to understand the dreams, hopes, and challenges that communities face worldwide. This is expressed in the theater and dance of cultures near and far, and we hear it in the notes of their music, from Afrobeat to Russian orchestras. At their best, the arts invite us to expand our perspective by stepping out of our lives and into the experiences of others. In this way, the stage collapses the distances between countries and cultures. The arts are a vital entre into a world arena, one that truly contributes to the globalizing of our campus and helps the University community better see and embrace commonalities and differences between diverse traditions and values of other cultures. In this way, Carolina Performing Arts plays an important role in furthering UNCs global academic vision: raising audience awareness of world cultures and helping to create new generations of responsible global citizens. Over the course of my career, I have been able to work and live in diverse world regions from a year in Jerusalem, Israel, to working on research in Thailand, China and Brazil, even to performing dental surgery beneath a mango tree in the rural Honduran village of Pinalejo. These endeavors have taken me into the lives of many people whose daily activities and experiences are very different from my own. They have introduced me to different cultures, perspectives, and value systems and these experiences, in turn, have informed my work as the leader of UNC Global. Im committed to making more of these opportunities available to students at Carolina, and to introducing students to the diverse world around us. It was in As You Like It that Shakespeare wrote, All the worlds a stage. Over the years, weve found many meanings in his phrase. As educators, we repeat the line to encourage students to understand that what they do will be seen and interpreted by others, that what we can imagine can be created, and that all of us contribute to the vast theater of life and thus bear significant responsibilities to our communities and society at large. The arts can truly inspire us to see whats possible to see our own community values on stage and to understand the values of others. All the world is a stage, and at UNC, the Memorial Hall stage brings the world to us.
Ron Strauss is executive vice provost and chief international officer at UNC. Strauss holds appointments in three schools at UNC, as Dental Friends Distinguished Professor in the School of Dentistrys Department of Dental Ecology, professor in the School of Medicines Department of Social Medicine, and clinical professor in the School of Public Healths Department of Epidemiology. Strauss continues to direct the large campus-wide course on AIDS (Public Health 420) and also serves as a member of the UNC Craniofacial Centers interdisciplinary clinical team for the care of children and adults with cleft lip, cleft palate, and other craniofacial conditions.




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3 Cups | ........................................................................... 41 Ackland Art Museum | .................................................. 29 Ambiante international Furniture | .............. 63 Ballet School of Chapel hill, The | ...... 41 Bandidos Mexican Cafe | 60 Bin 54 | 60 Bookshop of Chapel hill, The | ............... 41 Carolina Brewery | ........................................... 60 Carolina Crossroads restaurant and Bar ..................................................... 60 Carolina Meadows | ....................................... 21 Cassedy and Fahrbach | 41 Cedars of Chapel hill, The | ......................... 39 Core Catering | .......................................................... 21 deep dish | .....................................................OIFC dina Porter | ............................................................IFC doncaster | ............................................................... 29 duke Gardens | .................................................... 48 Fearrington house, The | ......................................... 23 Fine Feathers | ............................................... 37 Forest at duke, The | ................................................. 11 Galloway ridge | .................................................. 41 Goldworks |, OIFC hamilton hill Jewelry | ................................ 32 home on the range | .................................................... 11 il Palio ristorante at The Siena hotel | ................... 60 Jewelrecycle | .....................................................OIFC Joe van Gogh | ........................................................IFC kPo Photo | 63 Mark Bray enterprises | ............................ 33 Mcduffie design | ............................................ 36 Mediterranean deli & Catering | 60 Nasher Museum of Art at duke university | .......... 22 New hope Camp and Conference Center| 39 Nerium Ad | 33 opus 1, inc. | ............................................................. 32 Panera Bread | ............................................... 12, 61 Playmakers repertory Company | ....................... 45 r&r Grill | 61 raaga | ............................................................ 61 Shula's 347 | 61 Talulla's | ...................................................................... 61 The Print Shop | Triangle youth Ballet | ................................... 22 Tyndall Galleries | .............................................IFC uNC health Care | ............................................... BC university Florist | 37 university Mall | .....................................IFC, OIFC vespa ristorante | ...................................................... 61 village at Brookwood, The | ......................... 26 Wells Fargo | ............................................................. 11 William Travis Jewelry | ............................... 43

AdverTiSerS iNdex

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