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CREATE | PRESENT | CONNECT
Shiva Ganga – Shantala Shivalingappa NOV 8

Program Book 2 of 4
carolina JAN 11, 2012 OCT 28, 2011 –performing arts 11/12 1

11/12season
ACKNOWLEDGMENTS
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 Council, Student Body Government and UNC News Services. Elite Coach is the official transportation provider for Carolina Performing Arts’ artists.

11 /12 season
8 12 16 20 24 Gil Shaham, solo violin Samuel Beckett’s Watt – Gate Theatre Dublin Samuel Beckett’s Endgame – Gate Theatre Dublin Shiva Ganga – Shantala Shivalingappa Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, music director and conductor Still Black Still Proud – An African Tribute to James Brown Nutcracker – Carolina Ballet Brooklyn Rider and The Knights 28 32 34

ADMiNiSTRATivE STAff
Emil J. Kang – Executive Director Kelly Boggs – Audience Services Manager Rebecca Brenner – Marketing and Communications Coordinator Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development Assistant Reed Colver – Director of Campus and Community Engagement Jennifer Cox – Administrative Assistant Mary Dahlsten – Box Office Manager Tiffany Dysart – Artistic Assistant Butch Garris – Production Manager Erin Hanehan – Artistic Coordinator Kaitlin Houlditch-Fair – Campus and Community Engagement Coordinator Ellen James – Marketing and Communications Manager Matt Johnson – Production Manager Mike Johnson – Associate Director Marnie Karmelita – Director of Artist Relations Susan Marston – Accountant Dan McLamb – Tessitura Systems Administrator Mark Nelson – Director of Marketing and Communications Mark Steffen – Events Manager Christine Tully – Audience Services Coordinator Aaron Yontz – Production Manager

carolina performing arts

MEMORiAL HALL STuDENT STAff
Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, House and Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success. Advertisers Make This Book Possible This program book would not be possible without the advertisers who support it. Their patronage means this information is 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 Kristy Timberlake at (919) 834-9441 or amys@opus1inc.com or kristyt@opus1inc.com.

38 39 40 44 45 46 47

Donor Spotlight Board, Endowment, Society Donors Important Information Student View The Last Word Advertisers Index

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We all bring our own expectations to each and every performance. There are evenings where we want to lose ourselves in the choreography of a dance or immerse ourselves in the beautiful music of an orchestra. Other times, we may feel frustrated when we don’t comprehend exactly what the artist is trying to convey. If you’ve attended a performance at Memorial Hall, you know that we present performances where the artist challenges us with abstract and sometimes controversial material either in content or context. While performances can often be fun and exhilarating, it is important to remember that these performers do not exist in a vacuum. In fact, the most successful works are those created by artists whose own personal experiences, viewpoints and values are conveyed articulately and concisely through their art. For instance, Angélique Kidjo, who performed in October, endured years of exile for speaking out against the Marxist regime in Benin. Throughout her energetic and soulful concert, she told us about the lessons she learned from her father, such as the importance of understanding other cultures and the critical role of love, compassion and empathy in making a difference in the world. We would never want Angélique to hold back on her personal opinions, formed from her own experiences, for the sake of making us feel comfortable. In contrast, we also recently presented the U.S. premiere of Water Stains on the Wall by the Cloud Gate Dance Theatre of Taiwan. The work was an abstract meditation of movement, light and shadow. It was much more challenging to grasp and yet spoke volumes about the culture, values and tradition of the people of Taiwan with its movement’s roots in the martial arts, spirituality and calligraphy.

Even if we don’t agree with or understand all that is presented on stage, I hope you will concur that our role at Carolina Performing Arts is to present artists who will engage you in a way that will challenge, inspire and break through the clutter of life’s preoccupations in order to connect more meaningfully with those who we meet every day. Sincerely,

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

carolinaper formingar ts.org // (919)843-3333

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COMiNG SOON
fEB 3 fEB 10 fEB 13/14 fEB 17 fEB 24 MAR 15 MAR 22 MAR 13/14 MAR 20/21

CREATE | PRESENT | CONNECT

Carolina Chocolate Drops, with special guests Luminescent Orchestrii Overtone Quartet, featuring Dave Holland, Chris Potter, Jason Moran & Eric Harland Alvin Ailey American Dance Theater Leif Ove Andsnes, piano Christian McBride & inside Straight Amsterdam Baroque Orchestra & Choir with Ton Koopman, conductor Jazz at Lincoln Center Orchestra with Wynton Marsalis, trumpet Circa Herbie Hancock

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Overtone Quartet, featuring Dave Holland, Chris Potter, Jason Moran & Eric Harland

Alvin Ailey American Dance Theater

Herbie Hancock

919-843-3333 | carolinaperformingarts.org

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NOT QuiTE SuRE WHAT yOu WANT?
FEB 3 |
Carolina Chocolate Drops

Sometimes you don’t know until you see it …
NOV 12/13 |

Orchestre Révolutionnaire et Romantique

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Leif Ove Andsnes, piano

Still Black Still Proud

Béla fleck and the Original flecktones

Cheikh Lô

Christian McBride and inside Straight

Alvin Ailey American Dance Theater

HIGH ENErGy
These shows are energetic and loud; come prepared to get up, stand up, and dance!
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DATE NIGHT
Looking for a fun and relaxing evening out? Bring that special someone, then sit back and enjoy.
n Orchestre Révolutionnaire et Romantique,

Still Black Still Proud – An African Tribute to James Brown Carolina Chocolate Drops with special guest Luminescent Orchestrii Béla fleck and the Original flecktones Cheikh Lô

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with Sir John Eliot Gardiner, music director and conductor
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Nutcracker – Carolina Ballet Overtone Quartet, featuring Dave Holland, Chris Potter, Jason Moran & Eric Harland Alvin Ailey American Dance Theater Herbie Hancock

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Apr 4/5 |
Snow White – Ballet Preljocaj

Mar 20/21 |

Circa

Four Electric Ghosts

Teatr ZAR

Whispering Pines

European union youth Orchestra

Shantala Shivalingappa

Göteborg Ballet

BrEAKTHrOUGH
These cutting edge, avant-garde performances are guaranteed to stir your soul.
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GLOBAL VIEWS
Travel the globe without leaving the Triangle.
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Snow White – Ballet Preljocaj Four Electric Ghosts – Mendi + Keith Obadike Whispering Pines – Shana Moulton & Nick Hallett Teatr ZAR – Gospels of Childhood: The Triptych
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Beckett’s Watt & Endgame – Gate Theatre (ireland) Shiva Ganga – Shantala Shivalingappa (india) Circa (Australia) European union youth Orchestra with vladimir Ashkenazy, music director & conductor Göteborg Ballet (Sweden)

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“ Go-for-broke passion…silvery tone…
meticulously molded phrasing.” – The Washington Post

Gil Shaham, solo violin
♥ Friday, October 28 at 8pm
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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classical recital

OcT 28

Friday, 8pm

program
PrOGrAM
Partita No. 3 in E Major, BWV 1006 ................................................................................. J.S. Bach Preludio ............................................................................................................... (1685-1750) Loure Gavotte en Rondeau Menuet I and II Bourrée Gigue Sonata No. 3 in C Major, BWV 1005................................................................................. J.S. Bach Adagio Fuga Largo Allegro assai iNTERMiSSiON Partita No. 2 in D minor, BWV 1004 ................................................................................. J.S. Bach Allemande Courante Sarabande Gigue Chaconne Mr. Shaham records exclusively for Canary Classics

Program Notes by Katharina Uhde
Violinists and audiences throughout history have been amazed and dazzled by Bach’s solo violin sonatas and partitas. Quite a number of them had difficulty believing and accepting that these works are, in fact, unaccompanied. The first account of an added accompaniment was written by Robert Schumann, commenting on the famous violinist at the Leipzig Gewandhaus, Ferdinand David, who gave a historic concert: “he played a ciaconna [i.e. chaconne] by J.S. Bach […], about which we have wrongly believed that no additional voices could possibly be imagined [and composed to it]. Felix Mendelssohn Bartholdy, by artistically and wonderfully accompanying David’s chaconne on the piano, arguably disproved this statement. They played with such mastery and perfection, as if the cantor himself had had his hands in this performance.” That this event marks the first official performance of Bach’s chaconne, shows the orientation of the romantic generation, and proves how much performance styles and aesthetics have shifted between 1720 (the year when Bach

composed his violin solos) and a century later, when his music was rescued from oblivion. Mendelssohn was by far not the only composer who could imagine Bach’s solo violin work with accompaniment: Robert Schumann also composed accompaniment for all six sonatas. Further arrangements and accompaniments followed throughout the 19th and early 20th centuries by lesser-known composers (Reinecke, Luzzato, Michaud, and Wilhelmj). During the 19th century, Joseph Joachim might be among those who most genuinely understood Bach’s solo violin work and advocated its performance according to Bach’s score: for solo violin. Being, as he was, a very close friend of Schumann, he once commented on the “deep-felt accompaniment” that Schumann had provided to the Bach solos. And yet, Joachim declared the accompaniment unnecessary, albeit “with a bleeding heart.” The chaconne, among few other pieces, remained one of Joachim’s most cherished and most performed works throughout his career. Joachim’s understanding of Bach was
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an exception at the time and hints at the later historical movement. We might wonder why the romantics had difficulty accepting Bach’s solo violin work as written. The incentive behind their arrangements and transcriptions, one must conclude, is the idea that this music needed an accompaniment to sound complete. Albeit insensitive, this notion may originate from Bach’s complex counterpoint, which, granted, does not present the listener with an easy task. To actively listen to a fugue or a chaconne means to mentally engage in the contrapuntal framework. For example, in Bach’s chaconne many variations conceal the theme (the descending tetrachord) to varying degrees. A thematic bass note might just be struck once for a brief moment before it must give way to figurations and garlands, which embellish the harmony. The active listener can follow and hold these bass notes and their harmony in her mind, thereby participating in creating the contrapuntal framework. Musicologist and early Bach biographer Spitta fittingly spoke of the chaconne as “triumph of spirit over matter,” thus alluding to the unimaginable, almost impossible task, which the violin is confronted with, given that it is primarily a melody instrument. Katharina Uhde studies violin under UNC professor Richard Luby and is a graduate student in musicology and performance practice at Duke University.

Gil Shaham
Gil Shaham is one of the foremost violinists of our time, combining flawless technique with inimitable warmth and a generosity of spirit. He is sought after throughout the world for concerto appearances with leading orchestras and conductors, and he regularly gives recital and ensemble appearances on the great concert stages and at the most prestigious festivals. In the 2011-12 season, Shaham continues his long-term exploration of “Violin Concertos of the 1930s,” which comprises performances at some of the most well-established concert venues with the world’s greatest orchestras. In January 2012, he begins the year performing Barber’s Violin Concerto with the Hong Kong Philharmonic and Virginia Symphony. He tackles Prokofiev’s Second Violin Concerto in February with the New World Symphony and fills out the rest of the season giving performances of the Hartmann, Berg, and Stravinsky concertos with the orchestras of New York, London and Atlanta, respectively. In October, Shaham brings Brahms’s Violin Concerto to Carnegie Hall with Orpheus Chamber Orchestra, and later in the season he reprises the concerto with the orchestras of San Francisco, Boston and Delaware. This fall also sees Shaham exploring several of Bach’s sonatas and partitas for solo violin on a US recital tour. Mr. Shaham has more than two dozen concerto and solo CDs to his name, including

bestsellers that have appeared on record charts in the US and abroad. These recordings have earned prestigious awards, including multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004. They comprise Haydn Violin Concertos and Mendelssohn’s Octet with Sejong Soloists; Sarasate: Virtuoso Violin Works with Adele Anthony, Akira Eguchi and Orquesta Sinfónica de Castilla y León; Elgar’s Violin Concerto with the Chicago Symphony Orchestra and David Zinman; The Butterfly Lovers and Tchaikovsky’s Violin Concerto with the Singapore Symphony; Tchaikovsky’s Piano Trio in A with Yefim Bronfman and cellist Truls Mork; The Prokofiev Album and Mozart in Paris, both with Orli Shaham; and The Fauré Album with Akira Eguchi and cellist Brinton Smith. Gil Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of seven, receiving annual scholarships from the America-Israel Cultural Foundation. Mr. Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Award. He plays the 1699 “Countess Polignac” Stradivarius. Mr. Shaham lives in New York City with his wife, violinist Adele Anthony, and their three children.

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oN

GiL SHAHAM
APrIL LEE
Gil Shaham is performing three selections from J.S. Bach’s Sonatas and Partitas. Completed in 1720 and published in 1802, the set was largely ignored even after publication, until the celebrated violinist Josef Joachim began to perform them. Since then, the Sei Solo – a “violino senza Basso accompagnato,” as Bach titled them – helped solidify the violin’s role as a solo instrument. These unaccompanied pieces, essential to the violin repertoire, are particularly demanding of the performer because they leave the artist completely exposed, with nothing to hide behind. This type of performance requires technical mastery of the instrument and leaves no room for lapses in concentration. These pieces set the true virtuosos apart from the rest of us. As a violinist, I am intrigued by the combination of Gil Shaham and Bach’s Sonatas and Partitas in tonight’s performance. I have spent countless hours listening to recordings of his performances of the set, hoping to glean the secret to attaining his flawless technique and inimitably warm tone, all to no avail. Brilliant and scintillating when the score demands it, dark and melancholy at other times, Shaham’s tone and style are unique and effervescent. The best part is that he does it all so effortlessly, creating a façade of ease about the music. To see and hear all of these elements materialize in front of me within the comforts of our campus is sure to be a delightful occasion. April Lee (’14) studies business administration and economics at UNC.

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“Quite simply outstanding...”
The Guardian (UK)

Samuel Beckett’s Watt – Gate Theatre Dublin
Texts from the novel selected by Barry McGovern Performed at Historic Playmakers Theatre

Wednesday, November 2 at 7:30pm Friday, November 4 at 8pm
The Gate Theatre Dublin performances are made possible, in part, by Performance Benefactor Thomas F. Kearns, Jr.

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special event
Cast
Barry McGovern
1954. But, curiously, Ireland was the first country to publish extracts from Watt in the literary magazines Envoy and Irish Writing between 1950 and 1953. It was while touring Ireland as an actor in Anew McMaster’s company in the early ’50s that Harold Pinter read an extract from Watt in one of those magazines and became one of Beckett’s greatest champions. Watt is for many a difficult book to read, not least because of its seemingly endless lists and combinations and permutations. But the perseverance is worth it and those who give it a chance will find great riches of language and philosophy and great cause for laughter. It is one of the few books that have made me laugh out loud on public transport. Watt the show is not Watt the book. It is a distillation of the essence of the book. Much has had to be left out for an hour-long show. My earnest hope is that those who enjoy the show, and particularly those who don’t, will read the book. It is unlike anything else you will have read. This stage version of Watt is dedicated to the memory of my good friend the great New York publisher and book lover, Dick Seaver, who died in 2009 and who, more than anyone else, was responsible for publishing Watt.

NOV 2 & 4
Wednesday, 7:30pm & Friday, 8pm
Tom creed
Gate Theatre: Watt (Dublin Theatre Festival, Under the Radar at the Public Theater, New York) New york: Mimic (PS122 as part of COIL 2010) Other Theatre: Una Santa Oscura by Ian Wilson, Project Arts Centre and Dublin Theatre Festival; Solemn Mass for a Full Moon in Summer, Life is a Dream, Attempts on her Life (Best Director Nomination, Irish Times Theatre Awards), Dream of Autumn, 4.48 Psychosis (SEEDS 2 showcase), Rough Magic; Berlin Love Tour, Say Hi To The Rivers And The Mountains, The Heights, The Art of Swimming, The Train Show, Dark Week (Judges Special Award Nomination, Irish Times Irish Theatre Awards), Soap!, Crave, Integrity, Playgroup; Broken Croí/Heart Briste, Manchán Magan; All Over Town, Calipo/ THISISPOPBABY; The Last Mile, Blue Raincoat; Ian Wilson’s The Handsomest Drowned Man in the World with Gavin Friday, Brighton Festival and Centre Culturel Irlandais, Paris; The Coming World, Making Strange; The Case of the Rose Tattoo, Dublin Theatre Festival; Mr Kolpert, Once Off Productions Rep Experiment, Dublin Fringe Festival; Love’s Labour’s Lost, Vinegar Tom, Samuel Beckett Centre; The Ideal Homes Show, Activate Youth Theatre; Purple, Dublin Youth Theatre. Tom is Director of Cork Midsummer Festival. Previously he has been a co-founder and joint Artistic Director of Playgroup, an Associate Director of Rough Magic Theatre Company and Theatre and Dance Curator of Kilkenny Arts Festival.

Creatives
Director, Tom Creed Costume Design, Joan O’Clery Lighting Design, James McConnell Sound Design, Denis Clohessy Music by Barry McGovern after Samuel Beckett
A Note on Watt, by Barry McGovern
Samuel Beckett wrote of Watt: “It is an unsatisfactory book, written in dribs and drabs, but it has its place in the series, as will perhaps appear in time.” It was begun in Paris on Feb. 11, 1941, and not completed until 1945. There are six notebooks in the University of Texas at Austin that are full of material which did not end up in the published book. These notebooks are extraordinary manuscripts, full of doodles, drawings and designs – mathematical and otherwise – that tell the tale of the book, so long in gestation. The novel (if that is the word) was written in English, his last work in that language before turning to French. He did, of course, write in both English and French later. Watt is the great transition work in Beckett’s writing, the bridge between the Joyce-influenced early work and the great middle period of the late ’40s and the ’50s. Most of the writing of Watt took place in the village of Roussillon in the Vaucluse area of Southeastern France between 1943 and 1944 when Beckett was on the run from the Gestapo because of his work with the French Resistance during World War II. He described writing it as “only a game, a means of staying sane.” The house of Mr. Knott where Watt goes to work is based on two houses: mainly Cooldrinagh in Foxrock, County Dublin, the Beckett family home; and, to a lesser extent, the nearby Glencairn, the former home of Richard “Boss” Croker, a retired Irish-American politician, and, more recently, the residence of the British Ambassador to Ireland. Watt’s journey on the train is from Harcourt Street Station in Dublin City to Foxrock on the old Harcourt Street railway line, most of which is now a tramline. The racecourse is Leopardstown. After the war, Beckett tried to have Watt published. But it was rejected by all to whom it was sent. One publisher wrote, “What is it that this Dublin air does to these writers?” It was eventually published in August 1953 in Paris by Olympia Press in collaboration with a group of young American expatriates, led by Richard Seaver, called Collection Merlin (or the Merlin juveniles, as Beckett called them). Later it was published by Grove Press in the United States and by John Calder in Britain. Watt was banned in Ireland in

Barry McGovern
Barry McGovern has had a long association with the work of Samuel Beckett. With the Gate Theatre he has played Estragon and Vladimir in Waiting for Godot, Clov in Endgame and Willie in Happy Days. He has also played Lucky in Waiting for Godot, Krapp in Krapp’s Last Tape, Henry in Embers, Fox in Rough for Radio II, Words in Words and Music and directed All That Fall. His one-man show I’ll Go On (derived from the novels Molloy, Malone Dies and The Unnamable) was produced by the Gate in 1985 and has played worldwide, most recently at the 2008 Lincoln Center Festival. Mr. McGovern has lectured, written and given masterclasses on Beckett’s work and is frequently asked to give readings of the poetry and prose. The recording of the Three Novels (Molloy, Malone Dies and The Unnamable) is available from www. rte.ie/shop. Recent stage work includes Cat on a Hot Tin Roof, Jane Eyre, Death of a Salesman, Arcadia, Gate Theatre; The Plough and the Stars, Abbey Theatre; Philadelphia Here I Come!, Gaiety Theatre; and Life is a Dream, Rough Magic. Films include Joe Versus the Volcano, Riders to the Sea, Billy Bathgate, Braveheart, Miracle at Midnight, The General, The Gift of the Magi and Waiting for Godot (Beckett on Film). In March 2012 he will be playing Vladimir in a new production of Waiting For Godot at the Mark Taper Forum in Los Angeles.

Beckett at The Gate
The Gate Theatre is synonymous with the works of Samuel Beckett, having toured productions throughout the world from Beijing to New York, Sydney to Toronto and London to Melbourne. In 1991, the Gate became the first theatre in the world to present a full retrospective of all 19 stage plays and, later, repeated the festival at New York’s Lincoln Center and at the Barbican Centre in London. The Gate also played a major role in Dublin’s 2006 Beckett Centenary Festival. In 2007, the Gate toured a critically acclaimed season, entitled GATE | BECKETT, to the Sydney
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Festival and the following year toured it to Lincoln Center Festival in New York. In 2008, the Gate completed an historic national tour of its landmark production of Waiting for Godot, which sold out 40 venues throughout the country in the first ever all-Ireland tour. The Gate Theatre has been, artistically and architecturally, a landmark building for more than 250 years. Established as a theater company in 1928 by Hilton Edwards and Micheál MacLiammóir, the Gate offered Dublin audiences an introduction to the world of European and American theater and also to classics from the modern and Irish repertoire. It was with the Gate that Orson Welles, James Mason and Michael Gambon began their prodigious acting careers. Today, in its 83rd year, The Gate has become unique in that it has had only two artistic directorates. In 1983, the directorship passed to Michael Colgan under whose guidance the theater continues to represent Ireland at the very highest level of artistic endeavor, receiving numerous invitations each year to major festivals on every continent. The Gate has a close association with the works of Samuel Beckett, the late Harold Pinter, Brian Friel and Conor McPherson to name but a few. Having presented at many major festivals, both internationally and at home, the Gate continues to develop, nurture and promote the works of a diverse range of playwrights and is committed to delivering the very highest quality productions that our audiences have come to expect. Watt and Endgame by Samuel Beckett are presented through special arrangement with Georges Borchardt, Inc., on behalf of the Estate of Samuel Beckett. All rights reserved. David Eden Productions, Ltd. (DEP) (Producer of U.S. Tour) has been one of the leading American organizations devoted to producing international work in the U.S. for more than 20 years. Most recently, DEP has produced North American tours of Galway’s Druid Theatre’s Cripple of Inishmaan, The Walworth Farce and DruidSynge, presenting their productions of The Shadow of the Glen and The Playboy of the Western World. Other recent tours include the Gate Theatre Dublin’s Waiting for Godot, Declan Donnellan’s Twelfth Night, Propeller’s The Winter’s Tale, Piccolo Teatro di Milano’s Arlecchino, the Russian Patriarchate Choir of Moscow, Batsheva Dance Company, and the State Ballet of Georgia with the legendary Bolshoi prima ballerina Nina Ananiashvili. In 2004, David Eden curated Lincoln Center Festival’s Ashton Celebration, a two-week centennial retrospective at the Metropolitan Opera House celebrating master choreographer Sir Frederick Ashton. Other notable projects include U.S. tours of the

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Bolshoi Ballet; festival programs for the Kennedy Center, including Arts of the United Kingdom (2001), Island: Arts from Ireland (2000), and Art of the State: Israel at 50 (1998); and premiere presentations of international theater and dance projects at the BAM Next Wave and Lincoln Center Festivals.

For David Eden Productions, Ltd:
Producer, David Eden General Manager, Erica Charpentier Production Manager, Trevor Long Visa Coordinator, Elise-Ann Konstantin Travel Agent, Lori Harrison, Atlas Travel Consultant, Scott Watson

Gate Theatre Dublin Administrative Staff
Director, Michael Colgan Deputy Director, Padraig Heneghan Head of Production, Teerth Chungh Theatre Manager, David Quinlan Production Manager, Jim McConnell Press & Marketing, Jennifer Higgins & Caroline Kennedy

Tour Production Staff
Tour Production Manager / Company Manager, Leo McKenna Stage Director, Miriam Duffy Production Coordinator, Valerie Keogh Wardrobe Supervisor, Kiki Beamish

Board of Directors
David Bunworth (Chairman) Michael Colgan Ingrid Craigie Laurence Crowley Mary Finan Kevin McHugh

The Edwards-MacLiammóir Gate Theatre Trust
David Bunworth Alan Gray Ronnie Tallon Presented in Association with David Eden Productions, Ltd. The Gate is grateful to The Arts Council for their continued support. The Gate is grateful to be supported by Culture Ireland as part of Imagine Ireland, a Year of Irish Arts in America 2011. The Gate Theatre is a not-for-profit organisation which is administered by the Edwards-MacLiammóir Trust and funded in part by the Irish Arts Council. Registered Charity Number CHY11638

www.gatetheatre.ie

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Samuel Beckett’s Endgame – Gate Theatre Dublin
Performed at Historic Playmakers Theatre

Thursday, November 3 at 7:30pm Saturday, November 5 at 8pm

The Gate Theatre Dublin performances are made possible, in part, by Performance Benefactor Thomas F. Kearns, Jr.

“Explosively funny…”
The Guardian (UK)

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special event

NOV 3 & 5
Thursday, 7:30pm & Saturday, 8pm

special event
For more information, please see Samuel Beckett’s Watt pages.

Des Keogh
Gate Theatre: Endgame, Arms and the Man, The Shadow of a Gunman, TwoFaced, The Importance of Being Earnest, The Dresser, Blithe Spirit, Heartbreak House, Charley’s Aunt. Other Theatre: The School for Scandal, The Coleen Bawn (transfer to National Theatre, London), Portia Coughlan, (transfer to Royal Court Theatre, London), Kevin’s Bed, Abbey Theatre; The Matchmaker, The Love-Hungry Farmer, Confessions of an Irish Publican (all adapted from John B. Keane), The Plough and the Stars, My Scandalous Life, Irish Repertory Theatre, NY; A Great Night for the Irish (Carnegie Hall and Radio City Music Hall); Dancing at Lughnasa, Someone Who’ll Watch Over Me, Old Wicked Songs, The Best of Friends, DA, USA; The Matchmaker (Best Actor nominee 2001); The Love-Hungry Farmer (Best Actor nominee 2004), Edinburgh Fringe; Des and Rosie Shows, Canaries, Gaels of Laughter, Gaiety Theatre; Tartuffe, The Pirates of Penzance, Olympia Theatre; The Stanley Parkers, Druid, Galway; The Quare Land, (Galway Arts Festival 2010); The Quiet Moment, Belltable, Limerick; The Sunshine Boys, The Civic, Tallaght. film/ Television: Ryan’s Daughter; Ulysses; Bad Day at Blackrock; The Clinic; Father Ted; Charley’s Aunt; An Ideal Husband; Me Mammy. Radio: Plays, Comedy Shows and 35 Years presenting “Music for Middlebrows” on RTE Radio.

Cast
Hamm, Owen Roe Clov, Barry McGovern Nell, Rosaleen Linehan Nagg, Des Keogh

Creatives
Director, Alan Stanford Set Design, Eileen Diss Costume Design, Joan O’Clery Lighting Design, James McConnell
Alan Stanford
Gate Theatre: Directing credits include own adaptations of Pride and Prejudice, The Old Curiosity Shop, Jane Eyre, Oliver Twist and The Picture of Dorian Gray, which he co-adapted. Other productions for The Gate include God of Carnage, Present Laughter (transfer to Spoleto Festival 2010), A Christmas Carol, The Real Thing, The Deep Blue Sea, Great Expectations, Private Lives, The Constant Wife, Romeo and Juliet, A Tale of Two Cities, Lady Windermere’s Fan (1997 and 2005), Cyrano de Bergerac, An Ideal Husband, The Importance of Being Earnest and Endgame. Other Theater: He is Artistic Director of Second Age Theatre Company for whom he has most recently directed Hamlet, Philadelphia, Here I Come! and A Dolls House. He is an Associate Director of Pittsburgh Irish and Classical Theatre for whom he has directed Salome, Betrayal and Celebration. Film: Educating Rita; The Irish R.M.; The Treaty; The Hanging Gale; Moll Flanders; Kidnapped; The American; Animal Farm; Waiting for Godot. He has written a screenplay of The Picture of Dorian Gray.

rosaleen Linehan
Gate Theatre: Endgame, Gates of Gold, Happy Days, Long Day’s Journey into Night, The Rivals, She Stoops to Conquer, London Assurance, The Double Dealer. Other Theatre: The Beauty Queen of Leenane, The Young Vic; New Electric Ballroom, Druid; Juno, City Center; Encores!

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Season; Blood Wedding, Almeida; Tartuffe, Roundabout Theatre, New York; Lost in Yonkers, The Guthrie, Minneapolis; House of Bernarda Alba, Abbey; Olga, Rough Magic. film / Television: About Adam; The Butcher Boy; Happy Days (Beckett on Film); The Hilo Country; Mad About Mambo; Sharpe’s Gold; The Matchmaker.

Owen roe
Gate Theatre: Cat on a Hot Tin Roof, God of Carnage, Jane Eyre, Endgame, The Birds, Faith Healer (Sydney Festival 2009, Edinburgh International Festival 2009, Gate Theatre 2009 & 2010), Uncle Vanya, Festen (Irish Times Irish Theatre Award for Best Actor), Catastrophe (Irish Times Irish Theatre Award for Best Actor), Great Expectations, Shadow

of a Gunman, The Cherry Orchard, Romeo and Juliet. Other Theatre: Titus Andronicus (Irish Times Irish Theatre Award Nominee Best Actor), Siren Productions; The Taming of the Shrew (Irish Times Irish Theatre Award Best Actor), Copenhagen, Rough Magic; Skylight, Landmark Productions; Heavenly Bodies, The Peacock; The Gigli Concert, Abbey Theatre and tour of Australia. film/Television: Sensations; Swansong; Wide Open Spaces; When Harry Met Bob; Whistleblower; God’s Executioner; The Galway Races; Alarm; Pride and Joy; Breakfast on Pluto; Intermission; Frankie Starlight; Michael Collins; When the Sky Falls. Val Falvey; Making The Cut; The Last Furlong; Prosperity; In The Shadow of the North; Ballykissangel; The Ambassador; Anytime Now; The Broker’s Man; Loving; Soft Sand; Blue Seas.

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Samuel Beckett’s Gate Theatre
KArEN O’BrIEN
I came to know the work of Samuel Beckett in a unique way by studying with a number of scholars and artists who knew him personally. Lauded as a true man of the theater, his plays blend minimalistic setting, economy of language, sense of musicality and appreciation for philosophical ideas. It is perhaps Beckett’s humor that most fully captures the tragic in his works, particularly in his depiction of humanity’s quest for meaning and struggle to survive amid uncertainty. The Gate Theatre has a special relationship with Beckett. In 1991, The Gate became the first theatre to present a festival of Beckett’s theatrical repertoire of 19 plays, and it has continued to revive and tour Beckett’s works every season to critical acclaim across the globe. The Gate’s current tour is part of Imagine Ireland, a year-long initiative to showcase Irish arts across America in 2011. This tour of Endgame and Watt relates to the larger aims of Imagine Ireland to not only gain international recognition for Irish arts but also to inform and be influenced by international cultural conversation. Carolina Performing Arts is one of four venues in which Beckett’s timeless masterpieces will be presented this year. Although I thoroughly enjoy attending productions at the Gate’s 18th century theater building, I am thrilled the company is visiting Carolina. Our welcoming of the Gate gives recognition to Irish arts, provides the experience of international performance, connects us globally and demonstrates the high value Carolina places on advancing broader conversation on international art and culture. Karen O’Brien is a David G. Frey Fellow Assistant Professor of Dramatic Art at UNC.

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“Like the dancing glow of a flame, which enlightens us.”
– Vogue, Paris

Shiva Ganga – Shantala Shivalingappa
Tuesday, November 8 at 7:30pm

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World Premiere in October 2004 at Théâtre de la ville / des Abbesses – Paris

special event

PrOGrAM
1. A PRAyER SONG TO vANi, GODDESS Of THE ARTS.

2. SuRyA STuTHi
Raga: Sourashtra Rupaka Talam (6 beats) | Choreography: Guru Sri Vempati Chinna Satyam A homage to Surya, the Sun-God, venerated in India at dawn and twilight. “Praise be to you, O Surya, You are the source of all life You bless us all equally with your sacred light and warmth, You are the supreme witness, We bow to you and offer you our grateful salutations.”

Tuesday, 7:30pm
Conceived and Directed by Shantala Shivalingappa Artistic Advisor Savitry Nair Lighting and Technical Design and Management Nicolas Boudier Light Technician Eric Citony Sound Technician Vincent Morello Orchestra J. Ramesh (chant) B.P. Haribabu (Nattuvangam et percussions) N. Ramakrishnan (Mridangam) K.S. Jayaram (flute) North American Representative Sunny Artist Management Ilter Ibrahimof, Director ilter@sunnyartistmanagement.com www.shantalashivalingappa.com www.sunnyartistmanagement.com

NOV 8

3. ANANDA NARTANA GANAPATi
Raga: Nattai Aditalam (8 beats) Music and lyrics: Sri Utukkadu Venkatakavi | Choreography: Kishore Mosalikanti Ganesha, or Ganapati, is one of the most revered and loved gods in India. Always kind and compassionate, he is said to be the destroyer of obstacles. Known for his rhythmic use of words and syllables, the composer of this particular song has chosen to describe a dancing Ganesha. And so the choreography depicts the graceful movements of Ganapati’s joyful dance.

4. RASALiLA
Raga: Madhuvanti Talam : Tishra (3beats) and then Chaturashram (4 beats) Music and Lyrics: Sri B.Ramamoorthy Rao | Choreography: Shantala Shivalingappa “O Krishna, the sound of your flute sends a thrill through our bodies! The beautiful Radha, her heart full of love, longs for you. Don’t you hear her ankle bells calling your name? Having dressed in their most beautiful attire, she and her friends wait for you near the banks of the river Yamuna. Radha awaits you, her heart dancing, just as the moon surrounded by stars, in a sky rendered restless at the prospect of this romantic encounter. Krishna the beloved has arrived, to dance and play with the young gopis, and the entire forest rejoices in his presence. With this song, may all sorrows be forgotten.”

SHIVA GANGA
Shiva, the Lord of Dance. His Cosmic Dance creates and sustains the Universe. The whole of creation is set in motion by the powerful vibrations emanating from his Dance, the awe-inspiring Tandava, virile, terrible, yet life-giving. If he stops dancing, the Universe dissolves. Ganga, the Goddess of the sacred river Ganges. She embodies grace, beauty, fluidity. Her dance is the mesmerizing and sensual Lasya. In Shiva Ganga, the choreography is inspired by these distinct yet complementary energies, playing with each other to attain the full expression of their true nature, and staying in balance. The dynamics of each movement is governed by one or the other force, Tandava, the masculine, or Lasya, the feminine. Sometimes each one manifests its inherent qualities, giving rise to a particular flavor. Sometimes both merge into one single flow of energy.
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5. TALAMELAM
In India we say, “Melody is the mother, and Rhythm is the father of music.” The rhythmic system, or Tala, is one of the pillars of Indian classical dance, and based on it, each dance style has developed its own distinct use of rhythmic language. Here is a look at the way Kuchipudi uses rhythm. Using voice as well as their instruments, the two percussionists get into a playful dialogue of rhythmic expressions. The dancer joins in their conversation, highlighting the typical footwork of this style. She ends with a dance on a brass plate, a particular feature of Kuchipudi.

6. SHivA GANGA
Choreography: Guru vempati Chinna Satyam, Shantala Shivalingappa The story is as follows: i. Bhagiratha meditates on Lord Shiva Raga: Karnataka Shudha Saveri Bhagiratha is chosen to call upon Lord Shiva and pray that he accepts to receive the fall of the Ganga on his head, as he is the only one who can withstand the tremendous force of her flow, and soften its fall on Earth. The first scene shows Bhagiratha in deep meditation, calling the name of Shiva. ii. SHivA’S COSMiC DANCE Raga: Amrutavarshini Talam : Mishra chaapu (7 beats) In the second scene, Lord Shiva, disturbed and angered by this call, answers with his Cosmic dance, the Tandava. Finally moved by the sincerity of Bhagiratha’s prayer, Shiva accepts to receive the Ganges on his head. iii. GANGA PRAvESHAM Raga: Keeravani Talam: Khanda chaapu (5 beats) The last scene shows Ganga’s dance. “I am the daughter of the snowy mountain, she says. I am about to go to Shiva and to let my waters flow onto his great matted locks. My love for Shiva is boundless, and for his sake, I joyfully accept to flow onto the Earth.”

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Shantala Shivalingappa
AFrOz TAj
According to the 2010 census, North Carolina is now home to more than 65,000 people of South Asian descent, hailing from India, Pakistan, Bangladesh, Nepal and Sri Lanka. Just east of Chapel Hill, the town of Morrisville is now 27% South Asian, according to a recent issue of The Cary News. With such robust representation in our state, it’s fitting that Carolina Performing Arts brings exciting performers from South Asia to the UNC campus each season. This year we will see one of South Asia’s rising stars in the world of dance, Shantala Shivalingappa. South Asian dance has many classical genres, and Shantala Shivalingappa performs in the distinctive Kuchipudi style. Originating in the southern Indian state of Andhra Pradesh, Kuchipudi dance has certain features that distinguish it from Bharatanatyam, including the Tarangam dance in which the dancer performs standing on the rim of a brass plate, often with vessels of water or lamps in her hands. Other dances emphasize emotional expression, or abhinaya, in which the dancer tells a story or paints a scene, often portraying multiple roles. At UNC, Shantala Shivalingappa will be presenting her piece Shiva Ganga, which evokes two deities: Shiva, who dances the destruction and the re-creation of the cosmos; and Ganga, the goddess of the sacred river, who descends from heaven into the matted locks of Shiva’s hair lest she destroy the earth with her impact. Shiva Ganga explores the interaction of the masculine and feminine, and the yearning of the human soul for the divine. Afroz Taj is an Associate Professor in the Department of Asian Studies.

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Orchestre Révolutionnaire et Romantique
with Sir John Eliot Gardiner, music director and conductor
Saturday, November 12 at 8pm Sunday, November 13 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.

“Proud and beaming and full of bursting emotion...”
– Los Angeles Times

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classical ensemble

program
NOVEMBEr 12 PrOGrAM
Overture to Prometheus, Op. 43 ................................................................. Ludwig van Beethoven ............................................................................................................................... (1770-1827) Symphony No. 4 in B-flat major, Op. 60...................................................... Ludwig van Beethoven Adagio – Allegro vivace Adagio Allegro vivace Allegro ma non troppo iNTERMiSSiON Symphony No. 3 in E-flat major, Op. 55 ..................................................... Ludwig van Beethoven Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

Saturday, 8pm/Sunday, 7:30pm

NOV 12/13

Program Notes by Molly Barnes NOVEMBEr 12 PrOGrAM Overture to Prometheus, Op. 43
At the invitation of Italian choreographer and librettist Salvatore Viganò, Beethoven composed music for Viganò’s ballet Die Geschöpfe des Prometheus (The Creatures of Prometheus), premiered for Empress Maria Theresa at the Vienna Court Theater in 1801. Beethoven’s first work for the Viennese theater achieved instant public acclaim, yet the Overture is the only section of the ballet remaining in the active repertory. It portrays the myth of Prometheus, who was said to have produced two clay statues that became the human race, and who, against Zeus’s orders, stole fire to bequeath to humanity. Beethoven’s Overture begins dramatically with timpani strikes and dissonant chords, which lead into a noble Adagio appropriate to the “heroic-allegorical” subject. The subsequent Allegro section, characterized by a rapid, distinctive main theme in the strings, has been said to illustrate Prometheus’s flight from Olympus after stealing fire from the Chariot of the Sun. Along with the Egmont and Coriolan Overtures, the Prometheus Overture remains among Beethoven’s most enduring works for the stage.

NOVEMBEr 13 PrOGrAM
Overture to Egmont, Op. 84 ....................................................................... Ludwig van Beethoven ............................................................................................................................... (1770-1827) Symphony No. 7 in A major, Op. 92 ............................................................ Ludwig van Beethoven Poco sostenuto – Vivace Allegretto Presto Allegro con brio iNTERMiSSiON Symphony No. 5 in C minor, Op.67 ............................................................ Ludwig van Beethoven Allegro con brio Andante con moto Allegro Allegro

Symphony No. 4 in B-flat, Op. 60
The most infrequently performed of his nine symphonies, Beethoven’s Symphony No. 4 has suffered comparative neglect. Positioned between the tremendously celebrated Symphonies Nos. 3 and 5, the work was depicted by Robert Schumann as “a slender Greek maiden between two Norse giants.” Indeed, the work exhibits more stylistic similarities with Beethoven’s first two symphonies, which found inspiration in Haydn’s late symphonies. Beethoven composed the Fourth in 1806 and dedicated it to Count Franz von Oppersdorff, a Silesian nobleman related to Beethoven’s patron Prince Lichnowsky. The symphony opens with a slow introduction, whose stealthy, foreboding dissonances intensify anticipation of the lively and lyrical Allegro, marked by a notable “zigzag” principal theme. Of the Adagio,

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Berlioz said: “…only amongst the giants of poetic art can we find anything to compare with this sublime page of the giant of music.” The third movement playfully subverts our expectations of rhythm and meter, and the finale is a breathlessly energetic culmination alluding to melodies heard earlier in the symphony.

struggles. By this point in his career Beethoven had succeeded in uniting vigorous, dynamic musical expression with masterful technical fluency, and the Overture to Egmont stands as a testament to this achievement.

Sir john Eliot Gardiner
Sir John Eliot Gardiner is one of the most versatile conductors of our time. Acknowledged as a key figure in the early music revival, he is the founder and artistic director of the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. Alongside the activities with his own ensembles, John Eliot Gardiner appears regularly as guest conductor with the most important European symphony orchestras, including the Vienna and Berlin Philharmonic Orchestras and the London Symphony Orchestra. The extent of Gardiner’s repertoire is illustrated by over 250 recordings made for major European companies, which have received numerous international awards. Most recently, he has been releasing recordings of the 2000 Bach Cantata Pilgrimage and Brahms symphonies on his record label, Soli Deo Gloria. His most recent projects with the Monteverdi ensembles include European tours of Bach’s Motets, Stravinsky’s Symphony of Psalms and Monteverdi’s Vespers (1610). He is currently continuing a five-year collaboration with the Opéra Comique in Paris, along with the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique. Away from his own ensembles, John Eliot Gardiner is involved in a three-year Beethoven cycle with the London Symphony Orchestra. Future engagements include re-invitations to Covent Garden, the Chicago Symphony Orchestra, Royal Concertgebouw Orchestra, Orchestre National de France and the Czech Philharmonic. In 1987, John Eliot Gardiner received an honorary doctorate from the University of Lyon. In 1992 he became an honorary fellow of both King’s College, London and the Royal Academy of Music. He received a knighthood in the 1998 Queen’s Birthday Honors List. In 2008, he was awarded the Royal Academy of Music/Kohn Foundation’s prestigious Bach Prize. In 2010, he was made Chevalier de la Légion d’Honneur following his nomination as Commandeur dans l’Ordre des Arts et des Lettres in 1996. 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 www.opus3artists.com

Symphony No. 7 in A, Op. 92
During the summer of 1811 Beethoven’s health was suffering, and under his doctor’s orders he traveled to the Bohemian spa town of Teplice. There he began his Seventh Symphony, completed in the spring of 1812. Evidently the recuperative period produced an extraordinary creative spark in Beethoven, as he said that this symphony was one of his finest works. Debuted in 1813 as part of a charity concert for soldiers injured in the Battle of Hanau against Napoleon’s troops, it had a tremendous reception, with three more performances within ten weeks. Richard Wagner famously called the symphony “the Apotheosis of the Dance itself,” referring to its great variety of dance-like rhythms. Rhythmic energy indeed drives the symphony; the long introduction moves through ascending scales to the Vivace, which has an undeniably triumphal quality. The haunting Allegretto fixates on an unrelenting theme with a surprisingly simple rhythmic profile, and moves from faint beginnings into a grand climax. The Scherzo and Trio take a boisterous romp, with occasional periods of calm, and Donald Tovey has described the Allegro con brio as containing “Bacchic fury.”

Symphony No. 3 in E-flat, Op. 55
Some years before he composed his Symphony No. 3 (“Eroica”), Beethoven is said to have declared to a friend, “From this day forth I shall forge a new path.” Composed in 1803-1804, the “Eroica” manifests one of the striking examples of Beethoven’s bold “new path,” with its enormously increased dimensions compared to his first two symphonies, astounding technical facility, and consistent originality. Beethoven had composed the symphony to honor his revolutionary hero Napoleon, intending to call the work Bonaparte. But after hearing that Napoleon had crowned himself emperor, Beethoven scratched out the honorary title, calling it instead Heroic Symphony, composed to celebrate the Memory of a Great Man. These circumstances have led to speculation about the identity of the “hero,” and some have suggested that the symphony is autobiographical. Particularly notable in the first movement is the seemingly premature entrance of the horn with the main theme before the beginning of the recapitulation, and the March funebre, depicting the funeral procession of the fallen hero, which represents the first use of the march in a symphony.

Symphony No. 5 in c minor, Op. 67
The Fifth Symphony did not begin public life auspiciously. It was composed in fits and starts from 1804-1808 as Beethoven’s deafness grew, against the looming threat of the Napoleonic Wars and Napoleon’s 1805 occupation of Vienna. The premiere in 1808 made relatively little impression, as the orchestra did not perform well, having had only one rehearsal. But soon, critics and audiences found themselves enraptured with the symphony. The opening four-note theme of the first movement is one of the most recognized moments in Western music, and according to legend Beethoven characterized the theme as “Fate knocking at the door.” The theme pervades and unifies the first movement, and returns in later movements; hence the symphony’s status as the iconic example of the ideal of musical “organicism.” The Fifth has also long been understood as a metaphorical heroic journey “from darkness to light,” and has been identified with Beethoven’s own struggles to overcome personal adversity. Molly Barnes is a doctoral student and teaching assistant in the UNC Department of Music.

NOVEMBEr 13 PrOGrAM Overture to Egmont, Op. 84
Political allegory finds potent artistic manifestation in Beethoven’s Overture to Egmont. When Beethoven composed the overture and incidental music to Johann Wolfgang von Goethe’s play Egmont between 1809 and 1810, Europe was engulfed in the Napoleonic Wars (1800-1814), during which Napoleon dramatically extended the reach of the French empire. Goethe’s historical play Egmont (1788) describes the Count of Egmont, a sixteenth-century Flemish nobleman who was executed for fighting against Spanish domination in the Netherlands. The celebration of the heroic efforts of the Count of Egmont to resist foreign oppression undoubtedly resonated for Beethoven, whose city of residence, Vienna, was twice occupied by Napoleon (in 1805 and 1809). The Overture to Egmont proves remarkably powerful, opening with an unmistakable gravitas, followed by a succession of themes that seem to illustrate Count Egmont’s life and

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Orchestre révolutionnaire et romantique
The Orchestre Révolutionnaire et Romantique (ORR) was founded in 1989 by Sir John Eliot Gardiner to bring to the music of the 19th and early 20th centuries the same intensity of expression and stylistic accuracy found with his renowned period-instrument chamber ensemble, the English Baroque Soloists. The ORR has won plaudits for its complete cycle of Beethoven symphonies in the 1990s – they are now returning to this repertoire for the first time in nearly twenty years. Another of the Orchestra’s outstanding successes has been its acclaimed Berlioz interpretations, beginning with the Symphonie Fantastique at the former Conservatoire de la Musique in Paris where the very first performance took place in 1830. In 1993, it gave the first modern performances of the rediscovered Messe Solennelle, and ten years later it performed L’enfance du Christ at the Proms and the first complete performances of Les Troyens at the Châtelet in Paris. Other critically acclaimed recordings include Schumann symphonies and music by Verdi, Weber and Mendelssohn, and in 2003, a highly successful dramatization of the writing of Beethoven’s Eroica Symphony with BBC Television. From 2006 to 2008, ORR embarked on an ambitious Brahms project with the Monteverdi Choir, performing Brahms’ music along with works by other composers that might have inspired him. The project was recorded by the ensemble’s dedicated label, Soli Deo Gloria. The Orchestra is currently involved in a five-year collaboration with the Opéra Comique in Paris, during which they have appeared in staged performances of Chabrier’s L’Etoile, Bizet’s Carmen, Debussy’s Pelléas et Mélisande and most recently Weber’s Le Freischütz. Forthcoming performances in 2012-2013 include a tour of Beethoven Missa Solemnis in the USA and Europe, and European performances of Debussy’s Pelléas et Mélisande and Berlioz’s Damnation of Faust. The world of choirs and period instruments orchestras owes much of its renaissance to the Monteverdi Choir and Orchestra. However, most audiences are unaware that they do not receive any regular public subsidies and are fully dependent on the growing support of individuals to develop and maintain their standard of musical excellence. To learn more about the Friends of Monteverdi and make a donation, please visit www.monteverdi.co.uk.

2011 USA TOUr rOSTEr
violins: Peter Hanson, Jenny Godson, Alida Schat, Miranda Playfair, Matilda Kaul, Madeleine Easton, Marcus Barcham-Stevens, Joanne Quigley, Martin Gwilym Jones, Bojan Cicic, Claire Sterling, Fiona Stevens Roy Mowatt, Jayne Spencer, Iona Davies, Matthew Ward, Anne Schumann, Catherine van der Geest, John Wilson Meyer, Rachel Rowntree, Hakan Wikstrom, Hildburg Williams violas: Judith Busbridge, Tom Dunn, Lisa Cochrane, Oliver Wilson, Stella Mahrenholz Jessica Beeston, Mark Braithwaite, Cian O Duill Cellos: David Watkin, Robin Michael, Lucile PerrinOlaf Reimers, Catherine Rimer, Daisy Vatalaro Double Bass: Valerie Botwright, Liz Bradley, Cecelia Bruggemeyer, Markus van Horn flutes: Marten Root, Lina Leon, Neil McLaren (Piccolo) Oboes: Michael Niesemann, Josep Domenech Clarinets: Tim Lines, Fiona Mitchell Bassoons: Jane Gower, Gyoergyi Farkas, David Chatterton (Contrabassoon) Horns: Anneke Scott, Joe Walters, Jorge Renteria Campos, Chris Larkin

Trumpets: Neil Brough, Robert Vanryne, Michael Harrison Trombones: Adam Woolf, Abigail Newman, Cameron Drayton Timpani: Robert Kendell Orchestre Révolutionnaire et Romantique Administration Riitta Hirvonen, General Manager Julian Clarkson, Orchestra and Choir Manager Marta Grawon, Development Officer Sophie Palent, Tour Manager Cecile Pauty, Office and Label Manager Katherine Adams, Librarian Richard Fitzgerald, Stage Manager for Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Tour Administration John C. Gilliland III, Associate, Tour Administration John Pendleton, Company Manager

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An African Tribute to James Brown
Bandleader Pee Wee Ellis, featuring Maceo Parker with special guests vusi Mahlasela and Cheikh Lô

Still Black Still Proud –
Wednesday, November 16 at 7:30pm

“Primally explosive funk” – The Independent (UK)

photo credit: Koen Broos

carolinaper formingar ts.org // (919)843-3333

world music
Program to be announced from stage.

world music

Program Notes
Discovering the points at which African and American music strike sparks off each other, Pee Wee Ellis and a host of stars including Maceo Parker, Vusi Mahlasela and Cheikh Lô bring James Brown’s revolutionary music full circle in this innovative, rhythm-fueled tribute of Afrofunk. As much as the music of Africa influenced Brown’s style, he likewise inspired an entire generation of African artists. Brown’s music was immensely popular, deeply felt and vastly influential in Africa. “Even in the deep bush, the villages, people knew about James Brown,” said Malian singer and guitarist Vieux Farka Touré. Still Black, Still Proud celebrates Brown’s lasting legacy while exploring the deep relationship between soul, funk and modern African music. Pee Wee Ellis says, “Since the beat came from Africa, we wanted to bring it back by way of combining funk with some African rhythms.” Artists from the US and Africa join together in a show that The Boston Globe dubs “a pancontinental funk-soul supergroup” and All About Jazz proclaims simply, “explosive.” Since 2008, Still Black, Still Proud has toured the UK, Europe and North America performing in front of sold-out audiences to rave reviews. Previous guest artists include Fred Wesley, Vieux Farka Touré, Tony Allen and Angelique Kidjo.

including Common One, Beautiful Vision, A Sense Of Wonder and later returning as horn arranger for Days Like This, How Long Has This Been Going On? and Back On Top. Pee Wee reunited with Fred Wesley and Maceo Parker, making several albums and touring as both The JB Horns and Maceo Parker’s Roots Revisited project. Throughout the 1990s, he released several solo albums on Minor Music that truly illustrate the depth of his music, including the jazz trio album Twelve and More Blues. More recent albums include Live ’n Funky, Ridin’ Mighty High and SMUNK. His world music collaborators include Oumou Sangare, Cheikh Lô, Cachaito Lopez, Miguel “Anga” Diaz and Ali Farka Touré. Pee Wee and his own band, The Pee Wee Ellis Assembly, regularly tour the UK and Europe. His newest album is Tenoration (2011), jointly produced with Joachim Becker for Art Of Groove.

Wednesday, 7:30pm
African music. Over a musically and socially consequential career, Vusi has successfully followed his muse and continued to give back to his country. As he puts it, “Musicians have to be like watchdogs, just by seeing and speaking out, directly to the youth as well, because we need some kind of cultural revolution to remove ignorance.”

NOV 16

Maceo Parker
Maceo Parker’s name is synonymous with funky music, his pedigree is impeccable and his band is the tightest little funk orchestra on earth. He has played with every leader of funk, starting with James Brown, jumping aboard the Mothership with George Clinton, stretching out with Bootsy’s Rubber Band. He’s the living, breathing pulse that connects the history of funk in one golden thread. The amazing P-funk Parker has been at it with his legendary alto horn for some time dating back to the 1960s. That’s when he and his drummer brother Melvin climbed on board the James Brown funky soul funk train. It wasn’t long before James coined the solo summoning signature, “Maceo, I want you to blow!” To most musicologists it’s the musically fertile group of men from this period of James Brown’s band who are recognized as the early pioneers of the modern funk and hip-hop we still jump to today. His collaborations over the years in both performing and recording have included Ray Charles, Ani Difranco, James Taylor, De La Soul, Dave Matthews Band and Red Hot Chili Peppers. His timeless sound has garnered him a fresh young fan base. After several years as band leader for the Rhythm and Blues Foundation Awards, Maceo received a Pioneer Award from the Rhythm and Blues Foundation for his contribution as a sideman to the genre of R&B. Since 1999, he has participated in some of Prince’s groundbreaking tours when not with his own group. Working with Grammy winners the WDR Big Band, he broadcast and performed a series of live shows paying tribute to Ray Charles and putting Maceo’s own funky music to a big band setting. This led to his latest release, Roots & Grooves, a live recording taken from these shows that features Dennis Chambers and Rodney “Skeet” Curtis.
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Vusi Mahlasela
Known simply as The Voice in his home country, South Africa, Vusi Mahlasela’s songs of hope connect Apartheid-scarred South Africa with its promise for a better future. Vusi became a singer-songwriter and poet-activist at an early age, later joining the Congress of South African Writers. After his popular debut on BMG Africa, When You Come Back, he was asked to perform at Nelson Mandela’s inauguration in 1994. After worldwide touring and international acclaim, Americans first caught a glimpse of Vusi in the lauded documentary film and accompanying soundtrack. Amandlal: A Revolution in Four-Part Harmony. Long-time admirer and fellow South African Dave Matthews signed Vusi to his own ATO Records label and released The Voice (2003), Guiding Star (2007) and Say Africa (2011), the latter produced by Taj Mahal and recorded at Dave Matthews’ studio In Charlottesville, VA. Recent highlights include performing at Mandela Day to honor Nelson Mandela’s birthday, touring with Béla Fleck behind the release of his Grammy-winning album Throw Down Your Heart – which features a live track from Vusi and Béla – appearances at the TED conference and performing with Paul Simon. In the midst of a busy international touring schedule, Vusi remains dedicated to his social activism and partnerships with nonprofits, including his own Vusi Mahlasela Music Development Foundation, committed to the promotion of and preservation of

Pee Wee Ellis
Pee Wee Ellis was born to play music. He joined the James Brown Revue in 1965 and co-wrote their first hit Cold Sweat, followed by many others including Say It Loud, I’m Black and I’m Proud, Mother Popcorn, Lickin’ Stick and The Chicken (later made famous by Jaco Pastorius). He distilled R&B and wrote complex, polyrhythmic arrangements that created a dialogue with Mr. Brown’s singing. His effect on music was huge, leading directly to George Clinton, Sly Stone and, in a circular twist, Miles Davis’ 1970s work. Pee Wee left the James Brown Revue in 1969 to work as arranger and musical director for CTI-Kudu records, the most popular jazz label of the 1970s. He was MD and arranger for Esther Phillips and worked with other CTI artists George Benson, Hank Crawford, Johnny Hammond, Sonny Stitt and Brother Jack McDuff. In 1979, he became Van Morrison’s musical director, collaborating on albums

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cheikh Lô
One of the great mavericks of African music, Cheikh Lô is a superb singer and songwriter as well as a distinctive guitarist, percussionist and drummer, personalizing and distilling a variety of influences from West and Central Africa to create a style that is uniquely his own. He dedicates his life and music to Baye Fall, a Senegalese form of Islam and part of the larger Islamic brotherhood of Mouridism. Born to Senegalese parents in Burkina Faso, he listened to all kinds of music, especially the Congolese rumba – popular throughout Africa – and Cuban music, which was all the rage in West Africa. At 21, he started singing and playing percussion with Orchestra Volta Jazz in Bobo Dioulasso. In 1981, he moved to Dakar, Senegal where he played drums for the renowned singer Ouza before joining the house band at the Hotel Savana. In 1984, he moved to Paris and worked as a studio session drummer before returning to Senegal to concentrate on his own music. Youssou N’Dour first encountered Cheikh Lô as a session singer in 1989 and on hearing Lô’s own songs, N’Dour immediately agreed to produce them, resulting in the album Ne La Thiass, which became an instant success. In 1997, he was awarded Best Newcomer at the Kora All-African Awards in South Africa and the following year he toured the US as part of the Africa-Fête line-up that included Salif Keita and Papa Wemba. In 1999, he received the prestigious Ordre National de Merite de Léon from the President of Senegal. Bambay Gueej came next, co-produced by Nick Gold and Youssou N’Dour, followed by Lamp Fall. His latest album is Jamm.

James Brown
DAVID PIEr
The influence of Africa on music of the Americas is justly celebrated, but few people realize just how influentially music has flowed in the opposite direction. We might begin in the 18th century with the sea shanties brought to the West African coast by sailors, including the so-called “Black Jacks” – free black men of American, Caribbean and African origins – envied by landbound blacks on both sides of the Atlantic for their unfettered lifestyle and worldly culture. At the end of the 19th century, African-American troupes like Orpheus McAdoo and his Virginia Jubilee Singers (of Greensboro, N.C.) introduced vaudeville tunes and spirituals to black South African audiences. Living under the yoke of what would eventually become Apartheid, these South Africans saw in their sharply dressed, well-educated American cousins an image to aspire to. Today it is American rappers who inspire overseas, especially the late Tupac Shakur, whose painted image broods from the dusty walls of Nairobi and Dar es Salaam, reminding unemployed youth that in their street struggles they are not alone. In this transatlantic music history, a special place must be reserved for James Brown. Brown, touring Africa in the 1970s, encapsulated much of what Africa was feeling about itself in those still heady post-independence years. He was defiant, sophisticated, energized, imperious. He called for a transnational black pride that would burn away the low self-esteem imprinted by slave owners and colonial masters. South African trumpeter Hugh Masekela, in his autobiography, jokingly recalls how Brown, arriving at Kinshasa airport for the famous 1974 “Rumble in the Jungle” Ali-Foreman match and all-star concert, insisted on deplaning with the pomp and circumstance befitting a king. Sadly, the image of the domineering modern-day “king” or “big man” was already becoming all too common in Africa, cultivated by dictators such as Mobutu and Idi Amin, who shared Brown’s oversized ego but lacked his commitment to social justice. James Brown’s music was arguably “African” in ways that mainstream AfricanAmerican music had not been up until that point. This certainly helps to explain his overwhelming success on the continent and the many imitation acts that sprang up in his wake. Brown’s main innovation was to pare everything away until only the short rhythmic cycle or “groove” remained. Every instrument (the human voice, the organ, the saxophone) became percussive and charged with the duty of articulating the rhythmic cycle with absolute precision. The primacy of short rhythmic cycles, strictly kept, is what unifies much African music and makes it distinctive in the world. Whether performed at a Ghanaian funeral or a James Brown concert, the rhythmic cycle is a matrix for the coordination of many sounds and bodily movements – the audience’s as well as the performers’. If we Americans in the audience tonight feel in sync with the music of our African guests, we owe thanks, in part, to James Brown for reuniting us. David Pier is an Assistant Professor in the Department of African and AfroAmerican Studies at UNC.

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CREATE PRESENT CONNECT

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Nutcracker – Carolina Ballet
Saturday, December 3 at 2pm & 8pm Sunday, December 4 at 2pm

“...one of the best story ballets of the past quarter century.”
– The Washington Post

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special event

special event
Nutcracker Act i – Christmas Eve
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 Stahlbaum’s annual Christmas party. Meanwhile at the Stahlbaum’s 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 and there is 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 Clara’s 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 big mice take over the room 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. He gains the upper hand and just as it appears that he is about to subdue the Nutcracker, Clara jumps off her the bed and throws her slipper at the Rat King. 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 Nutcracker’s 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.

Saturday 2pm, 8pm & Sunday, 2pm
A Note on the New Production
Carolina Ballet’s new production of The Nutcracker features a cast of more than 100 dancers and children accompanied by a live orchestra of classical musicians, stunning costumes and lavish redesigned scenery. This year features new magic designed by illusionist Rick Thomas and made possible by WRAL-TV when young Clara’s godfather, Dr. 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 Clara’s 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.

DEc 3/4

Carolina Ballet
Carolina Ballet is one of America’s premiere arts organizations. Launched as a professional dance company 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 87 world premiere ballets and toured internationally in China and Hungary. Weiss, former artistic director of the Pennsylvania Ballet and principal dancer at New York City Ballet under the legendary George Balanchine, programs traditional ballets by legendary masters and new works by contemporary choreographers. Highlights of Carolina Ballet’s 2011-12 season include a new production of The Nutcracker with new magic by illusionist Rick Thomas; the world premieres of Lynne-Taylor Corbett’s The Little Mermaid and Robert Weiss’s new ballet set to Beethoven’s Symphony No. 9; the company premieres of three rarely-performed early works by George Balanchine; and the return of Carmina Burana, Cinderella, Dracula, The Masque of the Red Death and Beauty and the Beast to the repertory.

Act ii - The Land of Sweets
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. A walnut boat arrives with the Nutcracker Prince and Clara. 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 creatures 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, spins her round and round and round until we find her asleep on the sofa, with her arms wrapped around her treasured Nutcracker.

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“Forgive the hyperbole, but I’ve seen the future of chamber music and it is Brooklyn Rider...” – Strings Magazine

Brooklyn Rider The Knights
Wednesday, January 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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special event

program
BROOKLyN RiDER
String Quartet No. 8 in F Major, K. 168 .................................................. Wolfgang Amadeus Mozart Allegro .................................................................................................................(1756 – 1791) Andante Menuetto Allegro Seven Steps (2011) ...................................................................................................... Brooklyn Rider Undiú ............................................................................................................................... Joâo Gilberto ......................................................................................................................................(b. 1931) ......................................................................................................................arr. Colin Jacobsen ......................................................................................................................................(b. 1978) Music of the Roma ...............................................................................................................Traditional iNTERMiSSiON

Wednesday, 7:30pm
The Knights
The Knights are an orchestra of friends from a broad spectrum of the New York music world who cultivate collaborative music-making and creatively engage audiences in the shared joy of musical performance. Led by an openminded spirit of camaraderie and exploration, they expand the orchestral concert experience with programs that encompass their roots in the Classical tradition and their passion for musical discovery. Led by conductor Eric Jacobsen, The Knights enjoyed a return engagement to the Ravinia Festival and a trio of concerts in Central Park this past summer. 2011-12 season highlights include collaborations with New York’s Museum of Modern Art, the Film Society of Lincoln Center and the 92nd Street Y. The orchestra toured Germany with cellist Jan Vogler and embarked on its first US tour. The group begins a residency at New York Public Radio’s WQXR and is featured in The Knights are Coming, a documentary produced by WNET/Thirteen. This season The Knights add an album of music by Schubert, Satie and Feldman to their impressive discography and will record Beethoven in their third project for Sony Classical. Other discs include Lisa Bielawa’s Chance Encounter for Orange Mountain Music and Mozart, the ensemble’s 2010 June Awardwinning collaboration with Lara and Scott St. John for Ancalagon. The Knights also can be heard on the soundtrack for Francis Ford Coppola’s new film, Twixt. The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen, who now serve as co-artistic directors. Among the group’s diverse talents are composers, arrangers, singer-songwriters and improvisers who bring a range of cultural influences. The musicians are graduates of elite music schools, and members have performed as soloists with the New York Philharmonic, Chicago and San Francisco symphony orchestras. Each opportunity for these musicians to perform together as The Knights is a special occasion that they consider, quite literally, playtime.

jAN 11

THE KNiGHTS
Eric Jacobsen, conductor Symphony No. 5 in c minor, Op. 67 ................................................................Ludwig van Beethoven Allegro con brio ...................................................................................................(1770 – 1827) Andante con moto Scherzo Allegro Allegro

Brooklyn rider
The adventurous, genre-defying string quartet Brooklyn Rider combines a wildly eclectic repertoire with a gripping performance style that is attracting legions of fans and drawing critical acclaim from classical, world and rock critics. NPR credits Brooklyn Rider with “recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble.” The musicians play in venues as varied as Joe’s Pub and Alice Tully Hall in New York City, Todai-ji Temple in Japan, Library of Congress, San Francisco Jazz and the South By Southwest Festival. They’ve appeared with such artists as songstresses Suzanne Vega and Christina Courtin, downtown jazz queen Jenny Scheinman and legendary Irish fiddler Martin Hayes. The members of Brooklyn Rider are classically trained musicians who illuminate the music of Haydn, Debussy and 300 years of string quartet repertoire. Veterans of Yo-Yo Ma’s Silk Road Ensemble, they also draw inspiration from the exploding array of cultures and artistic energy found in their home borough of Brooklyn. During the 2011-12 season, Brooklyn Rider celebrates its Carnegie Hall debut at Zankel Hall, embarks on two US tours and its first trip to China, with concerts in Beijing and Hong Kong. In recent seasons, Brooklyn Rider has appeared at Lincoln Center as part of the inaugural Tully Scope Festival, the Cologne Philharmonie, American Academy in Rome, Malmö Festival in Sweden, Spoleto Festival USA, Kimmel Center in Philadelphia and the US Open Tennis Tournament. Their new CD, Brooklyn Rider Plays Philip Glass, is one of NPR’s best classical albums of the year (so far). Their previous albums, Dominant Curve and Passport, also are favorites of both classical and indie music critics and are available from www.inacirclerecords.com. “The dazzling fingers-in-every-pie versatility that Brooklyn Rider exhibits is one of the wonders of contemporary music,” says the Los Angeles Times.

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Brooklyn Rider
Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello

Bass Zachary Cohen Joseph Bongiorno flute Alex Sopp Christopher Johnson Oboe Adam Hollander James Roe Clarinet Romie de Guise-Langlois Jo-Ann Sternberg Bassoon Edward Burns Erik Holtje Damian Primis Horn Michael Atkinson David Byrd-Marrow Trumpet Josh Frank Sycil Mathai Trombone Tim Albright David Nelson Louis Bremer Timpani Michael Caterisano Exclusive Management: OPUS 3 ARTISTS 470 Park Avenue South Fl. 9 New York, NY 10016

The Knights
Eric Jacobsen and Colin Jacobsen, Co-Artistic Directors Eric Jacobsen, Conductor violin Colin Jacobsen Johnny Gandelsman Pico Alt Christina Courtin Keats Dieffenbach Nanae Iwata Ariana Kim Yon Joo Lee Guillaume Pirard Adriane Post viola Kyle Armbrust Nicholas Cords Max Mandel Miranda Sielaff Cello Jane Cords-O’Hara Alex Greenbaum Andrea Lee Julia MacLaine

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Brooklyn Rider and The Knights
LINDSAy WILSON
Brooklyn Rider and The Knights is one of the most exciting concepts a young musician could dream up: an independent orchestra grown from a string quartet, self-sustaining in the sense that its foundation is collaboration among some of the most talented (and undeniably hip) musicians in the country. The orchestra challenges tradition without discounting it by programming adventurous yet accessible combinations. Take, for example, The Knights’ recording of the Shostakovich Cello Concerto with an arrangement of Jimi Hendrix’s “Machine Gun.” It makes perfect sense to compare the philosophies in Moscow under Stalin and the U.S. during the Vietnam War. Young musicians understand the need to foster new music in order to survive, but we don’t want to let go of the rich musical history we’ve known our whole lives. The Knights find a way to have it all; the grass is green no matter what side they’re on, and the creative collaboration of orchestra members through playing, conducting, composing and arranging – simply put – makes for a great show. In a concert with Brooklyn Rider and The Knights, any flaws of classical music yield to vitality, purpose and joy. What else would you expect from an orchestra starting years ago in the form of a sight-reading party? Every developing musician would crave the life of Brooklyn Rider and The Knights: the ability to convey our love of musical tradition, the practices we have worked hard to re-create and master and the freedom to collaborate and explore new music together. Lindsay Wilson (’10) graduated from UNC-Chapel Hill with a Bachelor of Music degree and a minor in German.

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SPOTLIGHT
FRANCINE AND BENSON PILLOFF
Who would establish a performing arts camp for children of all abilities, especially those with special needs? Befriend and visit artists in their studios to understand how they create their work? Pull up roots, move to a new part of the country and, before the moving boxes have arrived, offer the idea of a museum exhibit centered on their collection of art glass? Meet Francine and Benson Pilloff. Chapel Hill is fortunate that they chose to call this home, quickly establishing themselves as active and passionate arts patrons for a variety of Triangle institutions, including Carolina Performing Arts. In 2001, the couple decided they wanted to live somewhere warm, and “anywhere but Florida.” They began their search in Charleston and worked their way through North Carolina before settling in Chapel Hill. They soon became involved with the NC Museum of Art, where Francine joined the Art Society Board. She encouraged the museum to present an exhibit of art glass, and in 2005, the NC Museum of Art exhibited the collections of three North Carolina couples, including the Pilloffs. When Memorial Hall reopened with the launch of Carolina Performing Arts in September 2005, the Pilloffs were there. The weekend featured a ceremony to honor UNC alumnus Andy Griffith, and concerts by Tony Bennett, Itzhak Perlman, Pinchas Zukerman, and Leonard Slatkin conducting the NC Symphony. Benson recalls feeling that their new home had just gotten a lot more interesting. The Pilloffs have supported Carolina Performing Arts since 2007 and recently increased their giving. A brief list of their most memorable evenings reveals their eclectic taste and love of authentically moving experiences: The Blind Boys of Alabama, Yo-Yo Ma and the Silk Road Ensemble, and Abigail Washburn and the Sparrow Quartet. “I feel so grateful for this program,” Francine elaborates. “It’s added so much richness to our lives with performances that vary from mainstream to experimental and challenging. We appreciate experiences that take us out of our comfort zone.” Benson hails from Cleveland and Francine from Akron; they met as graduate students at Case Western Reserve University. Benson and his law school pals would regularly gather at the student union after classes. One day as they sat at one end of a long table he spotted a woman sitting alone at the other end. He was instantly smitten. Trying to come up with an opening line, he jumped at the chance to light the cigarette she pulled from her purse. They were engaged a week later and that was 47 years ago. and painting. Fascinated by the technical challenges of glassmaking, Benson even learned to blow glass himself. Together, they share an appreciation for all aspects of the allure of handcrafted studio glass. Francine says, “If you see our collection, you know us.” The objects they collect reflect their most fundamental values. “Some pieces are simply beautiful, others make political statements, social statements, feminist statements,” she says. When the couple embraces an idea, an activity, a need or a person, they do more than most might. They get fully involved, volunteering and supporting their passions. Their list of board memberships, event leadership and projects can be intimidating even to the most devoted volunteer. For instance, Francine commissioned an original contemporary ballet in honor of Benson for one of their milestone anniversaries. They served on The Pilchuck Glass School board in Seattle (cofounded by Dale Chihuly) and the Creative Glass Center of America in Millville, New Jersey. Francine chaired The Glass Exhibit at the Cleveland Museum of Art; and served as president of the International Art Alliance for Contemporary Glass. She also served on the boards of DANCECleveland, Verb Ballets, and the Museum of Contemporary Art in Cleveland. Francine is currently serving on the Friends Board at the Nasher Museum. Together they founded and nurtured The Francine and Benson Pilloff Family Playmakers Performing Arts Camp, a summer camp in Cleveland. Francine is also the founder and first president of the Ohio Alliance for Contemporary Glass. The Pilloffs are not just philanthropists of the creative arts; they are creative philanthropists. Carolina Performing Arts is fortunate to have encountered such wonderful donors who have chosen to share their sense of adventure, their passion for beauty and excellence, and their imaginative approach to life with their new community.

“I feel so grateful for this program. It’s added so much richness to our lives with performances that vary from mainstream to experimental and challenging. We appreciate experiences that take us out of our comfort zone”
Francine and Benson settled in Cleveland and raised three sons, who have given them seven grandchildren. They began collecting commercial art glass, starting with Lalique and Steuben. But in 1975, they suffered a major house fire and lost everything. Benson recalls seeing the shards of glass in the kitchen sink after the firemen departed with their axes and water hoses. The collection was a total loss. Francine said that she never wanted to own anything again. But the adventure and joy of collecting beckoned, and they soon returned, this time exploring studio glass, photography, sculpture

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iMPACT. Make One Today.

Maybe you are a scholar, student, or seasoned patron of the arts who appreciates the value of this exceptional university venue and embraces our commitment to keeping performing arts as one of the pillars of the educational experience at Carolina. Whatever your relationship with Carolina Performing Arts may be, there are many important ways in which you can help sustain this special place and its programs for future generations. Since its founding in 2005, Carolina Performing Arts has benefited from the generosity of countless benefactors who have chosen to support the arts at Carolina. Your gift will help us carry on to inspire future generations. Ticket revenues account for only 45% of the total cost of putting on a performance. The University continues to generously support us, but state funds continue to shrink and competing priorities continue to grow. To provide the same level of programming you’ve come to enjoy, we need your support.

We need you to join the friends and supporters listed on the pages that follow in making a gift to Carolina Performing Arts. MAKE AN IMPACT TODAY. You make a living by what you get. You make a life by what you give. – Winston Churchill

NATIONAL ADVISOry BOArD
The Carolina Performing Arts National Advisory Board of alumni and friends guides and champions a shared vision of Carolina as the nation’s leading university in the arts. It is with profound gratitude that we thank these outstanding and generous volunteers. Thomas F. Kearns Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair 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 Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill Sara McCoy, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josephine Patton, Chapel Hill Earl N. Phillips, Chapel Hill Wyndham Robertson, Chapel Hill Barbra Rothschild, New York, NY Sharon Rothwell, Ann Arbor, MI Chancellor Holden Thorp, Chapel Hill, ex-officio Douglas Zinn, Chapel Hill

cArOLINA PErFOrMING ArTS SOcIETy
The Carolina Performing Arts Society supports the University’s commitment to invite outstanding professional artists to perform and to teach; to foster a deep appreciation of a wide variety of the performing arts in the University, in the local community, and throughout the region; and to establish Carolina as a national leader in the performing arts. Society members enjoy a variety of special privileges. Annual membership begins at $125. We want to make your Carolina experience richer, more convenient, and more fun! Performance Benefactor: $15,000 and above The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or family who has the opportunity to select and dedicate a particular performance. Carolina Performing Arts will thank you for your generous gift by providing: • All Carolina Performing Arts Society benefits including valet parking and invitations to special events throughout the season, as described in The David Lowry Swain Society • Recognition in the season ticket brochure distributed throughout the year • Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance • Acknowledgment in the donor list for the season and an insert in the performance program that evening • Opportunity to meet the artist following the performance (when the artist is available) The David Lowry Swain Society: $10,000-$14,999 The David Lowry Swain Society offers first class benefits throughout the year to those donors who generously contribute $10,000 or more to the Carolina Performing Arts Society annually. All benefits listed for Platinum Tier, plus: • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area reserved for Swain Society members only • Access to exclusive VIP/Stage Door entrance • Personal coat check at the VIP/Stage Door entrance • Opportunity to name two seats in Memorial Hall • Exclusive access to the Swain Society Concierge Desk at (919) 843-2231 for assistance with difficult-to-acquire tickets for all Carolina Performing Arts performances • Assistance with requests for special tours and rental of Memorial Hall for special functions Platinum Tier: $5,000-$9,999 All benefits listed for Gold Tier, plus: • Use of the Pamela Heavner Gallery for your own private reception • Opportunity to name a seat in Memorial Hall Gold Tier: $2,500-$4,999 All benefits listed for Silver Tier, plus: • Complimentary reserved parking • Receptions in the Pamela Heavner Gallery during intermission at each Carolina Performing Arts series performance • Private tours • Exclusive travel opportunities Silver Tier: $1,000-$2,499 All benefits listed for Sponsoring Members, plus: • Opportunity to purchase single tickets in advance of the general public • Complimentary parking passes for nearby lot • An invitation to the season preview reception • Priority seating for subscriptions to Carolina Performing Arts Sponsoring Member: $125-$999 • Advance notice of season and individual tickets • Priority subscription processing • An invitation to an annual Society event • Member recognition in our program book for all Carolina Performing Arts events Undergraduate and Graduate Member: $35 • All benefits and privileges afforded to Sponsoring Members Gifts made at these specified levels automatically entitle you to all respective benefits and privileges afforded to University donors in all Annual Giving Leadership programs.
carolina performing arts 11/12

cArOLINA PErFOrMING ArTS ENDOWMENT
Through a generous $5 million challenge grant from the William R. Kenan, Jr. Charitable Trust made in 2005 and the inspirational leadership of the Carolina Performing Arts Society National Advisory Board, generous donors enabled us to meet that challenge by the challenge deadline in 2007. Carolina Performing Arts has pressing needs to fund the difference between our ticket income and the actual cost of presenting our series. Right now, tickets provide only about 45% of the total cost of presenting artists on our stages. The best way to ensure financial viability is to build a permanent source of future funding through our endowment. Whether it’s through naming a seat ($5,000 gift), creating a named fund ($100,000 minimum) or making a deferred estate commitment, your endowment gift will guarantee the excellence, variety and breadth of programming, the student outreach, and the investment in new creations that have become the hallmark of Carolina Performing Arts.

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11/12 season donors
ENDOWMENT GIFTS

Leadership Gifts and Pledges
($500,000 and above)
William R. Kenan, Jr. Charitable Trust Ellison Family Foundation Mr. and Mrs. James Heavner* Luther and Cheray Hodges* Tom Kearns William and Sara McCoy Anonymous

The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

CarOlINa PErFOrMING arTS SOCIETY aNNUal GIFTS
Contributions received October 1, 2010 to October 1, 2011 as of date of printing.

Performance Benefactor
($15,000 and above)
Jane Ellison Thomas F. Kearns, Jr. William and Sara McCoy Wyndham Robertson Robert H. and Jane McKee Slater Charles Weinraub and Emily Kass

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

Dr. Harry Gooder and Ms. Sally Vilas Mr. and Mrs. William H. Grumbles, Jr. Dr. and Mrs. Joseph Gulla Nancy Joyner Mrs. Frank H. Kenan Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas Keith Mankin and Julia Fielding James and Susan Moeser Paul D. and Linda A. Naylor Earl N. Phillips, Jr Paula Rogenes and John Stewart Coleman and Carol Ross Sharon Rothwell Anonymous Lynn Smiley and Peter Gilligan Michael and Amy Tiemann Brad and Carole Wilson

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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 Esteban and Dana McMahan Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Jonathan and Dina Mills Mary and Ted Moore William Morton Barry Nakell and Edith Gugger Michele Natale Paula Davis Noell Karl Nordling Dr. Etta D. Pisano and Jan Kylstra Cathy and William Primack Jolanta and Olgierd Pucilowski Robin and Harold Quinn Elizabeth Raft Bryna and Greg Rapp David and Susan Rosenberg Family Foundation of the Triangle Community Foundation Andrew and Barbra Rothschild Lies Sapp Patricia Shaw Mr. and Mrs. Alan C. Stephenson Frank and Geraldine Stutz Dr. Kenneth and Mary H. Sugioka Kay and Richard Tarr Patti and Holden Thorp Denise and Steve Vanderwoude Diane Vannais and Charles Waldren Kay and Van Weatherspoon Alan Harry Weinhouse William Whisenant and Kelly Ross Jesse L. White, Jr. John and Ashley Wilson

David Lowry Swain Society
($10,000 - $14,999)
The Abram Family Rebecca and Munroe Cobey Sophia S. Cody Ellison Family Foundation Burton and Kathleen Goldstein Mr. and Mrs. James Heavner Luther and Cheray Hodges Dr. Joan C. Huntley Mr. Thomas S. Kenan III William R. Kenan, Jr. Charitable Trust John A. McLendon Carol and Rick McNeel Francine and Benson Pilloff Mrs. Sidney Siegel Mark W. and Stacey M. Yusko

Silver Tier
($1,000 - $2,499)
Mr. and Mrs. Louis Albanese James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Robert Benson Dolores Bilangi Josef and Eva Blass Kerry Bloom and Elaine Yeh M. Robert Blum William Bolen Priscilla Bratcher Robert W. Broad and Molly Corbett Broad James and Betsy Bryan Timothy Bukowski and Naomi Kagetsu Leigh Fleming Callahan Michael and Diana Caplow G. Curtis and Sarah Clark Anonymous Luther Dafner and Virginia Wittig Jo Anne & Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Pat and Jack Evans Maryann Feldman Diane Frazier David G. Frey Paul Fulton Dr. Rebecca Goz Robert and Dana Greenwood Anonymous Leesie and Bill Guthridge Jim and Ann Guthrie Roberta Hardy and Robert Dale Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Mr. and Mrs. Dick Kahler Lisa and Emil Kang Lisa and Theodore Kerner, Jr., M.D. Mack and Hope Koonce Clara Lee Melissa LeVine Alice and Sid Levinson

Platinum Tier
($5,000 - $9,999)
Peter D. and Julie Fisher Cummings Eleanor and James Ferguson Lowell M. and Ruth W. Hoffman Jaroslav F. Hulka and Barbara S. Hulka Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Charles M. Weiss Douglas and Jacqueline Zinn

Named 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 James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers. The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students.

Sponsoring Member
($125 - $999)
Brigitte Abrams and Francis Lethem Ed Adkins and Hulene Hill Anonymous Cutler and Cristin Andrews Pete and Hannah Andrews Robert Antonio Nancy Appleby Nina Arshavsky Ingram and Christie Austin Peter Baer Larry and Vicky Band Linda J. Barnard Judith and Allen Barton John W. Becton and Nancy B. Tannenbaum James and Mary Beck Donna Bennick and Joel Hasen Pat and Thad Beyle

Gold Tier
($2,500 - $4,999)
Betsy and Fred Bowman J. Matthew Brittain Cliff and Linda Butler Hodding Carter and Patricia Derian Castillo-Alvarez Fund of Triangle Community Foundation Michael and June Clendenin Jane and Frederic Dalldorf Shirley Drechsel and Wayne Vaughn Frank H. Dworsky Mimi and James Fountain

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James and Martha Bick Sue Bielawski Blythe Family Fund Jack and Jennifer Boger Bollen Family Natalie and Gary Boorman Donald Boulton Craig and Catherine Briner Drs. Ben and Inger Brodey Frederick and Nancy Brooks Ken and Margie Broun Raymond Brown Betsy Bullen Dr. Leslie Anne Bunce Thomas W. and Gail W. Bunn Mr. and Mrs. Edmund S. Burke Bob Cantwell and Lydia Wegman Byron Capps Philip and Linda Carl Erin G. Carlston and Carisa R. Showden Carolina Home Mortgage Catharine Carter Michael Case and Lewis Dancy Steve and Louise Coggins Thomas Cole Carolyn M. Conners Donna Cook and Matthew Maciejewski Jay and Barbara Cooper Joanne and Michael Cotter Andrew Cracker in memory of Deborah Ann Cracker Anne-Marie Cuellar William and Barbara Dahl Arthur S. and Mignon R. DeBerry Christianna Williams and Henrik Dohlman Mr. and Mrs. Michael J. Donoghue Mike and Linda Dore Steven Dubois and Kathleen Barker Sam and Angela Eberts Susan Egnoto Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Rabbi Frank and Patricia Fischer Jaroslav and Linda Folda Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Mr. and Mrs. J. Rex Fuqua Maeda Galinsky Greg Gangi The Joseph and Anna Gartner Foundation Susan Gerard Ann and David Gerber Leonard and Ann Gettes Mike and Bonnie Gilliom Johanna Gisladottir Lallie M. and David R. Godschalk Dr. James E. Godwin and Dr. E.A. Campbell Charles and Karen Goss Frances C. Gravely and Haig Khachatoorian Steve Gravely Paul E. Green, Jr. Barbara and Paul Hardin Wade and Sandra Hargrove Anthony Harris Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Mike & Annie Liptzin Kenneth R. Hauswald Clark and Karen Havighurst Charles S. Head David and Lina Heartinger Gerardo and Jo Heiss Hill Family Fund 2 of Triangle Community Foundation Carol Hogue and Gordon DeFriese Joan and David Holbrook in honor of Professor Marvin Saltzman Susan Hollobaugh and Richard Balamucki Paul 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 Sarah Hubby George William Huntley III Gayle Hyatt Marija Ivanovic Christopher and Betsy James Drs. Konrad and Hannelore Jarausch Donald and Debra Jenny Kathryn E. Johnson Dr. Norris Brock Johnson in honor of Ms. Beatrice Brock Beth Jonas and Michael Fried Carrilea McCauley Joy Michael and Judy Kadens Fred Kameny Harry Kaplowitz In honor and recognition of your dedication and service, NetApp thanks Joanna Karwowska Hugon Karwowski John and Joy Kasson Joan and Howard Kastel Donna B. Kelly in memory of Georgia Carroll Kyser Andrei Khlystov and Irina Lebedeva Brian and Moyra Kileff J. Kimball King Lynn Knauff Gary Koch Barncy and Betsi Koszalka Anonymous G. Leroy Lail Barbara and Leslie Lang Annette Langefeld Ken and Frankie Lee Amy and Alan Levine Steven and Madeline Levine in honor of Mark Sidell Robert M. Lewis, Jr. Joan Lipsitz and Paul Stiller Robert Long and Anne Mandeville-Long Richard Luby and Susan Klebanow-Luby Mary R. Lynn Samuel Magill Richard Mann Anonymous Mr. and Mrs. Uzal H. Martz, Jr. Karol Mason Bill and Sue Mattern James O. May, Jr. A. Gramling McGill Tim and Roisin McKeithan Daniel D. McLamb The Lawrence and Sylvia Mills Family Fund John Morrison and Barbara Archer Benny and Ann Morse Charles Mosher and Pamela St. John Christopher and Helga Needes John and Dorothy Neter Elisabeth and Walter Niedermann Patrick and Mary Norris Oglesby Newland and Jo Oldham Vickie Owens Bob and Joan Page Michele Pas Dick and Jean Phillips Raymond Phillips, Jr. Joel and Victoria Pineles Carlyn and Ivan Pollack David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Teresa Prullage Susan and Vikram Rao Ivan Remnitz Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Stephen and Patricia Roberts Russell and Ann Robinson Stephen and Esther Robinson Andrea Rohrbacher Margaret Rook Richard Rosenberg Susan Rota Brian and Linda Sanders John Sarratt and Cynthia Wittmer Robert Schreiner Ms. Marjorie Moses Schwab Carol and David Sclove Jennifer and Bill Selvidge Robert and Pearl Seymour Robert Shipley David and Jacqueline Sices Robert and Helen Siler Mr. and Mrs. Keith Silva Mark and Donna Simon Charles Simpson Rosemary Simpson David Sink Charles and Judith Smith Dana L. Smith Jonathan and Martha Smith Wiley Smith Claude and Sarah Snow Stuart and Harriet Solomon in memory of Ann Swern Daniela Sotres John and Carol Stamm Gary and Anne Leslie Stevens Ron Strauss and Susan Slatkoff Leslie and Paul Strohm James and Sandra Swenberg Sumner and Charlotte Tanson Sally and Nick Taylor Colin G. Thomas, Jr. Rollie Tillman Aubrey and Jeanette Tolley M.E. Van Bourgondien Susan Wall Sue Anne Wells PhD Wellspring Fund of Triangle Community Foundation Marlene and Roger Werner Barbara Smith White John W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard Silva Glenn and Helen O. Wilson Ron and Beverly Wilson Bill and Amy Wofford Eliza M. Wolff John and Joan Wrede Anna Wu and George Truskey Virginia Lee Wu David and Dee Yoder Betty York Ann B. Young

undergraduate and Graduate Student Members
($35)
Lauren Alexander Class of 2011 Madalyn Alexander Class of 2011 Geoffrey Geist Adrian Greene Laura Hamrick Katie Harris Charles McLaurin John D. Millett Katey Mote Anne Ruff Lauren Schultes Evan Shapiro Emily Simon David Spanos Claire Thomson Hope Thomson Brendan and Tamara Watson Christopher Wright

OTHER CONTRiBuTiONS
(Less than $125)
Anya Abashian Class of 2011 Stephen Abdo

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11/12 season donors
Tanya Adderson-Davidson Dede Addy Jenna Alexy Amber Kathleen Alsobrooks Katelyn Ander James and Susan Anthony Denise Porterfield Ashworth Katherine Baer Mr. Baird O. Gordon Banks Arnold Barefoot, Jr. Mr. Ignatius Amedaus Beard Jr. Kurt Becker Danny Bell Dr. Stephen A. Bernard Mel Bernay Aditi Bhattacharjee Katherine F. Blackman Marcus Blakely Robert Blank Kelly Stowe Boggs Michelle M. Bordner Thomas and Betty Bouldin Hope Breeze Teresa Broome David Brown Amy Buchan Aimee Peden Burke Nathaniel F. Bushek Jennifer Carbrey Lawrence and Helen Cardman Dulce Castillo Dr. Gillian T. Cell Drs. John and Barbara Chapman James and Brenning Cheatham Ms. Marianne Na-Lee Cheng John Sung Choi Jooyeon Chon Sandra Cianciolo James A. Cobb, Jr. Bob Coleman George Collias Ms. Liz Connelly Linda Convissor Scott Cooley Jennifer Cox Dr. and Mrs. Mason Cox Jr Richard Allen Cox Laura Crane Michael Crosa Richard Crume Cynthia Crummey James Cryer Daniel and Elizabeth Deacon Dr. and Mrs. James W. Dean, Jr. John and Jill DeSalva Robert and Nancy Deutsch Jennifer Lynn Drag Noel and Shelby Dunivant H. Jack and Betsy Edwards Paul and Patricia Elstro Peter and Susan Erkkinen in memory of Lillian Chason Jerry and Adelia Evans Jeanette Strasser Falk Judith Ferster Elisabeth Fox Ms. Vonda Lee Frantz Ben Fuller Class of 2011

2011
O. Ganley Debra Garcia Butch Garris Lindsey Genut William D. George Jr. Marge Glaser Mr. Shalom Goldman Anna Devin Graham Lynne Graham Chauntel Graves Kelsey Greenawalt Douglas Griffin Ephraim Gur Ayca Guralp Jerry and Kathryn Gurganious Frank and Alma Haluch Douglas Nathaniel Harris Wade Harrison Lauren Heath Timothy Hefner in honor of Shelby Bond Anne Heuer Brian Edward Hill Gary P. Hill Jonathan Hill Elise Hobbs Class of 2011 Susan Hogue Tyler Hoke Kathleen Hopkins Julia Howland-Myers Marc Howlett Meghan Hunt Class of 2011 Kelsey Hyde Dr. Christopher and Michelle Ingram Ms. Elizabeth Crawford Isley Jeanine Manes Jackson Joy Javits Mike Johnson Chip Johnston Felipe Jolles Rebecca Jones Lauren Josey Class of 2011 Charles Kahn Phyllis Kammer Jason Kang Michael Everett Kelly Eliza Kern Sharon May Kessler Anonymous in honor of Mrs. Anne C. Liptzin Deborah C. Klein Diana Knechtel Martha Knieriem and Sandra Dennis Leslie Kreizman Ted and Debbie LaMay John Langstaff Joel Laskey Jeffrey Lawson Constance Lazakis Samuel Lebowitz Brittany Lehman Joycelyn Powell Leigh Sharon Leonard Nate Lerner Margot Lester Alison Linas David Lindquist Ray and Mary Ann Linville Thomas Logan Elizabeth Lokey Melissa Lomax Susannah Long Class of 2011 Amy E. Lucas Richard Lupton in memory of Mildred C. Lupton, M.A. 1969 Dr. Patrick T. and Elaine L. Malone Sara K. Mamo Janet Mason Anuja Mathur Kevin and Karen Mattingly Paul McCarthy Emily McCloy Brian McCune Deborah McDermott William and Donna McHenry John McKeever Elizabeth McKenna Shirley McLean Robert McLeod Faith Leshea McNeill Soukaina Mehdaoui Julie Mikus Taylor Miles Solon Minton III Christian Moe Coolie and Thad Monroe Margaret Moore Grant Morine Robert Xavier Morrell Laura Newman Thomas Wright O’Brien Ryan and Hannah Ong Gregory and Carla Overbeck Elizabeth Pack Robert and Martha Paterson Bettina Patterson Susan Pelletier Patricia Peteler Jeremy Peterman Phyllis Post Joshua Price Michelle Pujals David Rathel Venu Ravi Mr. and Mrs. William Ray Mary Regan Suzanne Reiss in memory of Charles Colver Matthew Reyes Class of 2011 Peter Robson H. Daniel Rogers, Jr. Eric McKinley Sain Margie Satinsky Leah Schinasi and Ghassan Hamra Eric Schlotterbeck Marisa Sears Mary Sechriest David and Linda Seiler Christy and Joel Shaffer Suraj S. Shah Tatjana Shapkina Alexander Silbiger Anne H. Skelly Simone Smith Gina Song Timothy Spitzer Mark Steffen Jane Stein Lauren Stevens Laurence Augustine Stith Jr. Stuart Lee Stroud Xiaowu Sun Thor Svendsen Ellyn and Jimmy Tanner Shaw Terwilliger John Thomas John B. Thomas Franklin and Janice Thompson Rod Thompson Gregory Timmons Charleton Torrence III John Trexler Lindsey Utrata Daryl Farrington Walker David Walker Sheila Reneau Ward Julie Warshaw James Wasson in memory of Annie Pearl Shaw Wheaton Family Dr. Derek and Louise Winstanly Merrill Wolf Adrienne Wollman Class of 2011 Manuel and Karen Wortman Lindsay Wrenn Duncan Yaggy Victor Yamaykin Sherrie Zweig and Richard Vinegar *irrevocable deferred gift

Carolina Performing Arts Staff Contributions
Kelly Stowe Boggs Michelle M. Bordner Priscilla Bratcher Jennifer Cox Butch Garris Mike Johnson Emil Kang Daniel D. McLamb Mark Z. Nelson Mark Steffen

SPECIal THaNKS TO OUr SPONSOrS
Elite Coach University Florist

STUDENT TICKET aNGEl FUND CONTrIBUTIONS
Received as of October 1, 2011.

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

Patron
($5,000 - $9,999)
Thomas F. Kearns, Jr. Mr. Thomas S. Kenan III

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

Donor
(Less than $2,000)
Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn Steven B. & 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 Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara H. Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Brooke Crouter Dr. James W. Crow Robert Marion Daniel Elizabeth Chewning Deacon Robin Dial M’Liss and Anson Dorrance Woody and Jean Durham 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 Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Tim 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 Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Jocelyn 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 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 Josie Ward Patton Florence and James Peacock John Atlas Pendergrass Kenneth Lawing Penegar Earl N. Phillips, Jr. 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 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 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 Shirley Warren in memory of Harold E. Warren Jay and Leslie Walden 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 Douglas and Jacqueline Zinn *Scott Garcia and Debbie McDermott *deferred gift

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important INFOrMATION
Memorial Hall Box Office Hours
• Monday-Friday: 10:00am - 6:00pm • Weekday events: 10:00am - intermission • Weekend events: 12 noon - intermission

No Smoking
• Smoking is prohibited inside Memorial Hall and on the UNC campus.

No Electronic Devices
• Use of cell phones, beepers and alarms of any kind is prohibited during performances. Please remember to turn these items off before the performance begins. • Photography, videography and recording devices of any kind are prohibited during performances.

Memorial Hall Box Office
The University of North Carolina at Chapel Hill CB#3276, 114 East Cameron Avenue Chapel Hill, NC 27599-3276 P: (919) 843-3333; F: (919) 843-2012 E-mail: performingarts@unc.edu

Ticket Policies
• Tickets may be purchased by phone, fax, mail, in person or online. • Forms of payment accepted: Visa, MasterCard, UNC OneCard, cash, personal checks, and travelers’ checks. All phone, fax and online orders must be charged by credit card as tickets will not be held without payment. All sales are final. No refunds or exchanges are allowed. Tickets that go unused may be returned to the Box Office no later than one week prior to the performance and will be considered a tax-deductible donation. A receipt for the donation will be issued. If a performance is cancelled, patrons will be refunded the face value of the ticket. All tickets, other than those purchased in person, will be mailed. Please allow 7-10 days for delivery. All tickets purchased less than seven days prior to the performance will be held at Will Call. Patrons must present photo identification to pick up tickets at Will Call. All persons, regardless of age, must have a ticket for admission to performances. A current mailing address, e-mail address and phone number are required when purchasing tickets. All programs, dates, times and prices are subject to change.

HOuSE POLiCiES
Late Arrivals
• Patrons arriving after the start of a performance will be seated at the discretion of the house staff, typically in between works.

coat check
• This service is available for patrons seasonally and is located on the left side of the main lobby. Memorial Hall is not responsible for lost, stolen or damaged items.

Lost and Found
• For lost items, please contact the Box Office. For found items, please notify an usher.

Accessibility Services
• If a patron has special needs, the Box Office staff should be notified by the patron in advance and arrangements will be made for accommodations. Special needs include, but are not limited to, hearing or sight impairment, the use of a wheelchair, etc.

concessions
• Concessions are available for purchase in the lobby prior to the performance and during intermission. • No outside food or beverage is allowed to be brought into Memorial Hall.

carolinaper formingar ts.org // (919)843-3333

VIEW
NICOLA VANN

Not only can we be directly involved in many arts programs on campus, but we have constant examples of some the greatest artistic endeavors in the world practically across the street from the Old Well.

I believe the arts are universal. Or rather, that they can be universally effective. Regardless of language, age, ability, disability, or experience, art can and will move people. However, art is not everywhere in the sense that it is not universally supported and created, often abandoned in favor of projects and products where people can see the result in numbers or articles – because you can’t measure inspiration. On Carolina’s campus we are lucky to be surrounded by the arts. Not only can we be directly involved in many arts programs on campus, but we have constant examples of some the greatest artistic endeavors in the world practically across the street from the Old Well. Carolina Performing Arts not only provides singular opportunities for students to see performers, but brings these artists right to the University’s doorstep. I recently had a conversation with my roommate about a unique and profound theater piece she’d seen over the summer by a company from Poland called Teatr ZAR. She mentioned she wished I could see them, and it was satisfying to be able

to point out to her that they were coming to UNC this year. How many campuses would happen to be having an artist like that visiting? Not only do I have opportunities to see the art I already love, but I can also experience artists in fields with which I’m less familiar. A musician friend of mine was baffled that I, his instrument-fearing friend, had already seen Chick Corea, Wynton Marsalis, and several other greats before my first year of college ended. All I had to do was pay $10 at the Memorial Hall Box Office window on my way to class, and I was holding tickets to see someone many people wait their whole lives to see. Carolina Performing Arts is an indispensable force in asserting the importance of the arts here at Carolina, and the role of arts in education. Even with all that Carolina has to offer, it would not be the same without Carolina Performing Arts. Nicola Vann (’14) is a Dramatic Arts major, and Community Outreach Director for LAB! Theatre. •

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carolina performing arts
WOrD
ROBERT F. MILES Beckett’s writing for the theater has since been claimed by the Irish theatrical ‘canon’, celebrated in November by the visit to Chapel Hill by The Gate Theatre from Dublin. For many, attending these performances will reveal for the first time Beckett’s tragicomic view of human existence. For others, it will reinforce a well-justified conception of Dublin as one of the great theater cities of the world. For the student interested in pursuing one or both of these conceptions, the Study Abroad Office offers opportunities to study and to undertake an internship in the world of the performing arts in Dublin. And, through the generosity and vision of Jane Ellison, the Study Abroad Office offers the Elizabeth Malone Roughton

“...the Study Abroad Office offers opportunities to study and to undertake an internship in the world of the performing arts in Dublin.”
In April of this year, during a visit to Paris, I spent time in the Montparnasse Cemetery, reflecting at the tomb of Samuel Beckett. Born in Ireland in 1906, Beckett travelled extensively in Europe in the 1930s, and chose in 1939 to live permanently in Paris and to write in the French language. Sometimes, the flight of creativity is launched by creating distance from one’s original culture and language. And so many of our students who study abroad discover that their engagement with another cultural world transforms who they are as well as who they think they are: as Beckett discovered, to learn to speak, write and think in the French language changed irrevocably what and how he wrote. Study Abroad Scholarship (valued at $5,000) to a student enrolled in an approved study abroad program in Ireland that includes a performing arts internship. Kudos to Carolina Performing Arts for bringing The Gate Theatre and to Jane for creating new opportunities for Carolina students. Rober t F. Miles is Associate Dean for Study Abroad and International Exchanges at UNC and an adjunct professor of sociology.

•

carolinaper formingar ts.org // (919)843-3333

ADvERTiSERS’ iNDEx
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