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In this Issue . . .
11 NEW MOVES: KENICHI EBINA
20 ENSEMBLE GALILEI & NEAL CONAN FIRST PERSON: STORIES FROM THE EDGE OF THE WORLD
25 ROKIA TRAORÉ
27 ASPEN SANTA FE BALLET
34 Fine Arts Center Board and Staff
35 Friends of the Fine Arts Center
35 Business, Friends, Foundations & Organizations
38 Evacuation Diagram
40 Patron Services Information
41 Symbols of Support
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Thursday, April 8, 2010, 7:30 PMUMass Fine Arts Center Concert Hall
NEW MOVES:KENICHI EBINA
Sponsored by:
With additional funding from
Five College Dance
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PROGRAM(Subject to Change)
Act 1 1. “Eclipse ~ Ninja ~” Choreographed and Performed by Kenichi Ebina
2. “A Stone Statue at a Museum” Choreographed and performed by Takahiro Ueno
3. “RoboMatrix” Choreographed and Performed by Kenichi Ebina
4. “Twist of Vision” Choreographed and performed by Takahiro Ueno
5. “Vesta” Choreographed and Performed by Kenichi Ebina
6. Video Presentation: “Kenichi’s Quest of Upside Down”
7. Video edited by Kenichi Ebina
8. “Two Tom Thumbs Up!” Choreographed by Kenichi Ebina, Performed by Kenichi Ebina & Takahiro Ueno
IntermissionAct 2 9. “It’s a Takahiro’s Showtime” Choreographed and performed by Takahiro Ueno
10. “A Tribute to Someone Special” Choreographed and Performed by Kenichi Ebina 11. “Rain” Choreographed by Takahiro Ueno and Igal Perry, performed by Takahiro Ueno
12. “Junction of Worlds ~ Mirror ~” Choreographed and Performed by Kenichi Ebina & Takahiro Ueno
13. Finale
* The show pieces and order is subject to change
ABOUT NEW MOVES:KENICHI EBINA
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New Moves is performed by the duo unit of Kenichi Ebina and his dance partner, Takahiro Ueno. The pair’s performances are multimedia, dance-based extravaganzas that infuse various styles of dance with mime, magic, and illusion effects incorporating sound and light. The first full-length performance of New Moves premiered at the Kennedy Center for the Performing Arts.
Kenichi Ebina, who founded the dance company that bears his name, is a self-taught performer who started out dancing Freestyle Hip Hop, and then expanded his style to Poppin’, Lockin’, Mime, House, Jazz, Contemporary, and Ethnic dance. The scope and variety of his performances guarantee entertainment even for persons who are not acquainted with dance or the performing arts in general.
In 2001, Kenichi founded a dance group called BiTriP with all Japanese dancers. BiTriP won the grand championship in the “Amateur Night” competition at the world-famous Apollo Theater in 2001. BiTriP remains the only Japanese performance group to have won the contest. In 2007, Kenichi ap-peared in the dance contest of “Showtime at the Apollo” as a solo performer, and became the grand champion of the 2007 season after winning seven preliminary contests. Kenichi is the only two-time grand champion in the Apollo Theater’s storied history.
Kenichi has performed in venues around the world, and has been featured on TV shows broadcast in many countries. He has taught dance in the US, Europe, China, Japan, and Australia. In addition, Kenichi has performed, directed, and choreographed many projects for other dance and theater companies.
Takahiro Ueno is among the most well-known solo performers in Tokyo. In addition to many other commissions and projects, he recently choreographed the opening ceremony of the International Amateur Athletic Federation World Championship.
In Takahiro’s original style, Hip Hop meets Pantomime and encompasses the fringes of contempo-rary dance and martial arts. The overall impression of his dance style has been described as a Samurai steeped in the urban dance culture of the US.
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About Rokia TraoréRokia Traoré is among the most adventur-
ous singer-songwriters from Africa, taking a fresh approach by infusing elements of tradi-tional Malian music with a modern blend of rock and blues. Since deciding to become a professional musi-cian in 1996 at the age of 22, Rokia has risen in the ranks from promising newcomer to fully-fledged star. The daughter of a Malian diplomat who was posted to the US, Europe, and the Middle East, Rokia studied sociology in Brussels and performed in a rap band before deciding to go back to Mali to create the music she wanted, which she calls: “not pop, not jazz, not classical but something contemporary with traditional instruments.”
Rokia’s fourth album, Tchamantché, is rich in musical and lyrical depth—thanks to the vast diversity of cultures Traoré has experi-enced in her travels. Though she now lives in France, Traoré frequently returns to Mali, in order to remain connected to the history and culture of her native country. But if Rokia’s Ma-lian roots are audible on Tchamantché, so too is the iconoclastic spirit in which she incorpo-rates them without adhering to any traditional musical model.
“I think I am modern and traditional at the same time,” Rokia explains. “All of this exists in me at the same time, in my education, my personality, the way I’ve been travelling all the time, the type of father and mother I have, and the education I’ve had. All that definitely plac-es me in the middle of traditional culture and modern culture and in the same way between Western culture and African culture. That’s my life every day and my music is like that.”
Only a year after Rokia began performing professionally, she won the Radio France In-ternationale prize as “African discovery of the year.” Her revelatory debut album, Mouneïssa, appeared in 1998, to widespread acclaim. The follow-up, Wanita, released in 2000, to even better reviews and was voted album of the year in the fRoots annual poll. Her third al-bum, Bowmboï, included collaborations with the Kronos Quartet, and in 2006 she wrote and performed a new work for Vienna’s New Crowned Hope Festival, which was curated by Peter Sellars in celebration of the 250th anni-versary of Mozart’s birthday.
Released by Nonesuch Records in 2009, Tchamantché instantly garnered critical ac-claim and was awarded Best World Album at the Victoires de la Musica (the French Gram-
17
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Saturday, April 10, 2010, 8:00 PMUMass Fine Arts Center Concert Hall
ENSEMBLE GALILEI &NEAL CONAN
FIRST PERSON: STORIES FROM THE EDGE OF THE WORLD
Written and edited by Neal Conan
Directed by James Hanrahan
Music by Ensemble Galilei
Narrated by Neal Conan
With Lily Knight
Sponsored by:
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PROGRAMOvertureMournful am I from the Patrick MacDonald CollectionSudeleedoo Sue RichardsJulia Delaney Traditional Irish ReelLament from Crossing Baffin Bay Carolyn Anderson Surrick Hymn from Baffin Bay
Ithaka Constantine P. CavafyVar Det Du Traditional Swedish Vals
A Still Farther North Matthew HensonPavane Thomas Lupo (1577-1642)Julia Delaney Traditional Irish Reel
I Was Never Intended for a Traveler Charles DarwinCaledonia Mud Pike Sue RichardsScottish Bransles Straloch MS, 1629, ScotlandSquall Over Lachlan Sue RichardsTrip to Mull River Traditional Scottish ReelHigh Reel Traditional Irish Reel
Waves Jim HarrisonLiane’s Ocean Carolyn Anderson Surrick
A New Realm of Life Robert BallardRecercada Segunda Diego Ortiz (1510- ca.1570)
I am not a Vegetarian Clarence MaynardIt Possesses Me George MalloryInnsbruck Heinrich IsaacAdagio from B flat Trio Sonata Johann Sebastian Bach (1685-1750)Lament for Terence McDonough Turlough O’Carolan (1670-1738)
INTERMISSIONVals Fran Jamtland Traditional Swedish c.1880Jamtland Expressen Traditional SwedishEcklundapolska #1 Viksta Lasse
Galileo’s Telescope Michael S. GlaserAlta (La Spagne) Francisco de la Torre (fl.1483-1504) Nitrogen has a Dirty Taste Jacques Cousteau
A Blessing For the Woods Michael S. GlaserVals Fran Jamtland Traditional Swedish c.1880
Are You a Spirit or a Man? Gretel EhrlichSuki’s Waltz Sue RichardsThe Fair Child Traditional Irish Air
On the 38th Day Allen VilliersLament from Crossing Baffin Bay Carolyn Anderson SurrickGrace Harwar Carolyn Anderson SurrickHymn from Crossing Baffin Bay Carolyn Anderson Surrick
The Albatross Sara VialMournful am I from the Patrick MacDonald Collection
The Abode of Peace Ibn BattutaLamento di Tristan and Rotta 14th Century Italian Estampie
Var Det Du Traditional Swedish Vals
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Our Image Technician is Brian Doser
Photographs courtesy of The National Geographic Image Collection, Washington, D.C., and the National Maritime Museum, London England. Space images courtesy of the Hubble Space
Telescope Institute, and special thanks to Joanne Tromp, Underwater researcher at Woods Hole Oceanographic Institute.
Ithaka courtesy of Princeton University Press.
A Still Farther North is from “A Negro Explorer at the North Pole” by Matthew Henson, pub. 1912.
I was Never Intended for a Traveler is from “The Life and Letters of Charles Darwin,” edited by his son, Francis Darwin, pub.1905.
Waves courtesy of Jim Harrison from his book of poetry, “Saving Daylight,” pub. 2006.
A New Realm of Life is from “The Eternal Darkness: A Personal History of Deep Sea Explora-tion,” by Robert D Ballard with Will Hively, pub. 2000.
I am Not a Vegetarian is a quote from Clarence Maynard, found in “The Valley of the Ten Thousand Smokes” by Robert E. Griggs, NGM 02/1918, republished in “Worlds To Explore: Clas-sic Tales of Travel and Adventure from National Geographic,” edited by Mark Jenkins, National Geographic, pub. 2006.
It Possesses Me is from “Letters of George Mallory and Ruth Mallory,” quoted in “The Wildest Dream: The Biography of George Mallory,” courtesy of Peter and Leni Gillman, pub. 2001.
Galileo’s Telescope courtesy of Michael S. Glaser.
Nitrogen has a Dirty Taste is from “The Silent World” by Captain J. Y. Cousteau with Frederic Dumas.
A Blessing For the Woods courtesy of Michael S. Glaser.
Are you a Spirit or a Man? courtesy of Gretel Ehrlich from her novel “This Cold Heaven: Seven Seasons in Greenland,” pub. 2001. On the 38th Day is from “Rounding the Horn in a Windjammer” By Allen Villiers, NGM 02/1931, republished in “Worlds To Explore: Classic Tales of Travel and Adventure from National Geo-graphic,” edited by Mark Jenkins, National Geographic, pub. 2006.
The Albatross courtesy of Sara Vial, from the Cape Horn Memorial, 1992.
The Abode of Peace is from The Argonaut Series, edited by Sir E. Denison Ross and Eileen Power “Ibn Battuta: Travels in Asia and Africa 1325-1354,” translated and selected by H.A.R. Gibb, pub, 1929.
Special thanks to the extraordinary researchers from the National Geographic—Ali Khan and Liz Grady. A very special thanks to Bill Bonner who knows where EVERYTHING is, and we are surely grateful to Ashley Morton and Nadia Hughes. And to Greg McGrude ... words are not
enough to express our appreciation.
ABOUT ENSEMBLE GALILEIEnsemble Galilei is a group of players from both classical and Celtic traditional
backgrounds, playing Irish and Scottish airs and dance tunes, Early and Medieval music, and original compositions.
Hanneke Cassel: Fiddle“Exuberant and rhythmic, somehow both wild and innocent, delivered with captivating melodic clarity and an irresistible playfulness,” says the Boston Globe about Hanneke Cassel’s playing. Such charismatic fiddling has brought native Ore-gonian Hanneke Cassel many honors and awards. She is the 1997 U.S. National Scottish Fiddle
Champion, she holds a Bachelors of Music in Vio-lin Performance from Berklee College of Music, and she has performed and taught across the U.S., Scotland, England, Sweden, Austria, China, Italy, Hungary, New Zealand, Australia, France, and Canada.
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Allison Edberg: Baroque ViolinAllison Guest Edberg is a member of Olde Friends, Ensemble Galilei, ViVaCe, Ensemble Voltaire, the Mirabel Classical Quartet, and is concertmaster of the Indianapolis Baroque Orchestra. She was a recipient of the Willi Apel Scholarship in baroque violin at Indiana University where she studied with Stanley Ritchie. With him she appeared in recital at Chicago’s Quigley Chapel in 2002. The Chicago Sun Times called her performance of the Telemann Eb Fantasie “impeccable, with unerring intonation and an austere beauty.” (November 11. 2002). She has collaborated in recent years with Apollo’s Fire, the Washington Bach Consort, La Monica, and Early Music Southwest, and is fre-quently featured at the Bloomington Early Music Festival. Ms. Edberg has toured nationally and has recorded for the Electra and Centaur CD labels.
Kathryn Montoya: Recorders, Whistle, OboeKathryn Montoya is completing a doctorate at Indiana University, where she studied historical oboes with Washington McClain and recorder with Eva Legêne. She holds degrees from Ober-lin Conservatory and Indiana University. Ms. Montoya has performed with many ensembles, including Apollo’s Fire, The Newberry Consort, Ensemble Arion, the Cleveland Orchestra, Chi-cago Opera Theatre, Aradia Ensemble, and the Washington Bach Consort. She is a recipient of the prestigious Performers Certificate at Indiana University and was awarded a Fulbright Scholar-ship to study in Germany. Kathryn was a finalist in the American Bach Soloist Competition and has appeared as a soloist with the Bloomington Early Music Festival Orchestra and the Indianapo-lis Baroque Orchestra. In the summer of 2005 she performed with the Boston Early Music Festival Orchestra in the world premiere of Johann Mat-theson’s Boris Goudenow and was on faculty at Oberlin’s Baroque Performance Institute. Kathryn has recorded for the Naxos label.
Sue Richards: Celtic HarpSue Richards is a collector of tunes, mostly Celtic and Scandinavian. She has played the harp, both pedal and Celtic, since childhood, and found it to be the perfect instrument for her passion. To this end, she has won the Scottish Harp Society of America championship four times, studied and taught in Scotland, Ireland and Wales, and recorded with many friends, a natural outgrowth of a good party or session. She has sat in with the Chieftains and played for President and Mrs. Clin-ton. She also performs with “HEN” harp duo and “Harp and Fool” with mime Mark Jaster. Her solo recordings are on the Maggie’s Music label. Carolyn Anderson Surrick: Viola da GambaCarolyn Anderson Surrick was born on May 31st. Marin Marais, the great 17th century gambist was also born on that date. Probably a coincidence.
He had nineteen children. She does not. She does however, love the viola da gamba and all that it can do. She also is driven to create things, which has been useful in her work with Ensemble Galilei since it is her job to make things happen. She is, after all, the ringleader and navigatrix of the band. Its been almost eighteen years of collaborating, conspiring, whispering, and learning and, hon-estly, it’s one of the coolest jobs on earth.
Carolyn has a BA in music from UCSC, and an MA in musicology from GWU, started her recording career in 1977 and has never looked back. She has recorded and produced many projects since then, has built a couple of houses, and would rather travel by horseback than car. She lives with her family outside of Annapolis, Maryland in a house made from a 120 year-old barn. Life is good.
Danny Mallon: PercussionDanny holds Bachelor and Master of Music de-grees in classical orchestral percussion from the Mannes College of Music in NYC, where he has been a faculty member since 1991. In addition to three recordings with Chatham Baroque on the Dorian label, he can also be heard on Pifaro’s Dorian recording. He has recently recorded with the Baltimore Consort, Brio and on Ron McFar-lane’s solo recording on the new Dorian, Sona Luminus label. As well as recording spots for TV, radio and film, he has performed with Jordi Sa-val’s period orchestra, “Le Concert Des Nations,”; The Baltimore Consort; Ensemble Galilie; Rebel; Apollo’s Fire; The NY Collegium; Artek; AmorArtis Chorus and Baroque Orchestra and with Paula Robison and Ken Cooper. His festival appear-ances include Spoletto; the Berkeley Early Music Festival; the Madison Early Music Festival; the east Coast Baroque Dance workshop; the International Festival of Latin American Renaissance and Ba-roque Music in Bolivia and the Festival of Baroque Music in San Louis Potosi, Mexico.
Jackie Moran: PercussionBorn in Thurles, Co. Tipperary, Jackie immigrated to Chicago with his family at age 10. Displaying the intense zeal of a natural-born musician, he was firmly ensconced in the Chicago Irish music scene by the young age of 14. Several prestigious awards later, he’d proven his mettle in Ireland, as well. Jackie has been a founding member of many popular performing groups: Comas, Gan Bua, The Drovers, Wilding, The Otters, Trinity Irish Dance Company. On the cutting edge of the Irish music scene, he has toured with Riverdance, and has performed and recorded with some of the top Irish musicians in the world, including Kevin Burke, Dennis Cahill, Liz Carroll, John Doyle, Mar-tin Hayes, Paddy Keenan, Larry Nugent, and John Williams, among others. Jackie’s percussive styl-ings have even been featured in a number of ma-jor motion pictures: Backdraft (1991), Blink (1993), Traveller (1997), The Road to Perdition (2002).
Ginger Hildebrand: ViolinGinger Hildebrand holds a Master’s degree in guitar performance from the Peabody Conserva-tory in Baltimore where she worked with Manuel Barrueco; and she studied both violin and guitar in her undergraduate work at Dickinson College. She claims her ability to perform on many instru-ments is due more to her lack of focus than any abundance of talent. She’s been performing pro-fessionally since she was 19 with her husband Da-vid, focusing on authentic early American music and instruments. Together they’ve provided mu-sic for documentaries, PBS specials, and on stages at Williamsburg, Mt. Vernon, the Smithsonian, and the like. They have released five CDs and two chil-dren. Ginger also teaches privately and does edu-cational outreach for the Baltimore Symphony Orchestra through their Arts Excel program. She is thrilled to be touring with Ensemble Galilei this season.
ABOUT NEAL CONAN & LILY KNIGHTNeal Conan: NarratorNeal Conan may be the luckiest man on earth. With no discernable musical skill whatsoever, he somehow managed to achieve a lifelong ambi-tion to perform on stage with a great band.
Mr. Conan first read poetry and stories to the mu-sic of Ensemble Galilei in 2000 and worked with the group to put together both “A Universe of
Dreams,” which debuted in 2004, and “First Per-son: Stories from the Edge of the World,” which had its premiere at the National Geographic Soci-ety in 2007. He tours with both programs.
Weekdays, Mr. Conan hosts “Talk of the Nation,” which is broadcast on about 300 NPR stations and NPR Worldwide. Before that, Conan served NPR News as a reporter, editor and producer and as Bureau Chief in New York and London. He covered many elections, several wars, one impeachment and, in 2004, moderated the first radio only presi-dential debate since 1948. In 2000, Mr. Conan took a leave of absence to broadcast baseball play by play for the Aberdeen Arsenal, a team in the independent Atlantic League and wrote a book about his experiences, Play by Play: Baseball, Ra-dio and Life in the Last Chance League.
Lily Knight: ActorLily Knight began acting as a child on the stage and spent many years in the regions and on and off Broadway in New York. She now resides in Al-tadena, CA, where she acts in movies, television and the occasional play. Most recently, she filmed Clint Eastwood’s current project, Changeling. She is thrilled to be working with Carolyn, Neal and Ensemble Galilei.
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Wednesday, April 14, 2010, 7:30 PMUMass Fine Arts Center Concert Hall
ROKIA TRAORÉ
Sponsored by
Funded in part by The Expeditions program of the New England Foundation for the Arts,
made possible with funding from the National Endowment for the Arts,with additional support from the six New England state arts agencies.
25
About Rokia TraoréRokia Traoré is among the most adventurous singer-songwriters from Africa, taking a fresh ap-
proach by infusing elements of traditional Malian music with a modern blend of rock and blues. Since deciding to become a professional musician in 1996 at the age of 22, Rokia has risen in the ranks from promising newcomer to fully-fledged star. The daughter of a Malian diplomat who was posted to the US, Europe, and the Middle East, Rokia studied sociology in Brussels and performed in a rap band before deciding to go back to Mali to create the music she wanted, which she calls: “not pop, not jazz, not classical but something contemporary with traditional instruments.”
Rokia’s fourth album, Tchamantché, is rich in musical and lyrical depth—thanks to the vast diversity of cultures Traoré has experienced in her travels. Though she now lives in France, Traoré frequently returns to Mali, in order to remain connected to the history and culture of her native country. But if Rokia’s Malian roots are audible on Tchamantché, so too is the iconoclastic spirit in which she incorporates them without adhering to any traditional musical model.
“I think I am modern and traditional at the same time,” Rokia explains. “All of this exists in me at the same time, in my education, my personality, the way I’ve been travelling all the time, the type of father and mother I have, and the education I’ve had. All that definitely places me in the middle of traditional culture and modern culture and in the same way between Western culture and African culture. That’s my life every day and my music is like that.”
Only a year after Rokia began performing professionally, she won the Radio France Interna-tionale prize as “African discovery of the year.” Her revelatory debut album, Mouneïssa, appeared in 1998, to widespread acclaim. The follow-up, Wanita, released in 2000, to even better reviews and was voted album of the year in the fRoots annual poll. Her third album, Bowmboï, included collaborations with the Kronos Quartet, and in 2006 she wrote and performed a new work for Vienna’s New Crowned Hope Festival, which was curated by Peter Sellars in celebration of the 250th anniversary of Mozart’s birthday.
Released by Nonesuch Records in 2009, Tchamantché instantly garnered critical acclaim and was awarded Best World Album at the Victoires de la Musica (the French Grammys), and paved the way for Rokia to win Best Artist at the 2009 Songlines Music Awards. Rokia composed all of the songs on the album, with the exception of the Billie Holiday classic, “The Man I Love.” The style of Rokia’s singing distinct, as are the poetry and social consciousness of her lyrics, which often urge women, in Africa and everywhere, to find their strength and transcend the confines of conventional gender roles.
Rokia is also helping to foster the next generation African artists through her organization, Foundation Passarelle. Being from a well-off background, Rokia had the kind of opportunities not available to most African musicians: “I’m from a poor country,” she says, “and culture must be for free.” Foundation Passarelle provides performers and other aspiring music professionals with practical experience to lay the groundwork for careers in music. Rokia says she hopes to do for other African musicians, “what Europe did for me and my career.”
http://www.rokiatraore.nethttp://www.imnworld.com/rokiatraore
http://www.imnworld.com
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Friday, April 30, 2010, 8:00 PMUMass Fine Arts Center Concert Hall
ASPEN SANTA FE BALLETFounder: Bebe Schweppe
Artistic Director: Tom MossbruckerExecutive Director: Jean-Philippe Malaty
Artists: Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso, Samantha Klanac,
Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson
Production Stage Manager: Steve MyersLighting Supervisor: Jonathan Harper
Representation: Margaret Selby, Columbia Artists Management, Inc.1790 Broadway, 16th FloorNew York, NY 10019-1412
Ph: (212) [email protected]
Sue’s Leg was made possible by the generosity of Sherry and Eddie Wachs, and bythe National Endowment for the Arts’ American Masterpieces: Dance Initiative, adminis-
tered by the New England Foundation for the Arts
Sponsored by
Official Airline of Aspen Santa Fe Ballet
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PROGRAM
In Hidden SecondsChoreography: Nicolo Fonte
Music: John TavenerStage Design: Nicolo Fonte and Nicolas FischtelCostume Design: Nicolo Fonte and Ismael Aznar
Lighting Design: Nicolas FischtelStaged by: Kevin Irving
Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso, Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson
Premiere: 1999, Compañia Nacional de Danza.
Aspen Santa Fe Ballet’s production of In Hidden Seconds is made possible through the generosity of Kelli and Allen Questrom.
Intermission
Sue’s LegChoreography: Twyla Tharp
Music: Songs by Thomas “Fats” WallerLighting Design: Jennifer Tipton
Costume Design: Santo LoquastoStaged By: Ron de Jesus
Costume Construction: Nete Joseph
Seth DelGrasso, Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor
Premiere: February 21, 1975, Twyla Tharp Dance Foundation.
The performance of Sue’s Leg, a Tharp™ Ballet, is presented underlicense with W.A.T., Limited, and has been produced in accordance withTharp™ Standard services. Sweet Fields, Choreography by Twyla Tharp,
c19/20 [1992] Twyla Tharp.
Slingerland Choreography: William Forsythe
Music: Gavin Bryars* Lighting Design: William Forsythe
Costume Design: William ForsytheCostume Construction: Nete Joseph
Staged By: Jodie Gates
Katherine Bolaños & Sam Chittenden
Premiere: April 15, 2000, Ballet Frankfurt, Frankfurt.
*Gavin Bryars STRING QUARTET NO. 1 “Between the National and the Bristol”Used by arrangement with European American Music Distributors LLC, sole U.S. and Canadian
agent for Schott Music Ltd., publisher and copyright owner.
Aspen Santa Fe Ballet’s production of Slingerland is made possible throughthe generosity of Sherry and Eddie Wachs.
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Intermission
Red SweetASFB Commissioned Work
Choreography: Jorma EloMusic: Vivaldi, Biber
Lighting Design: Jordan TuinmanCostume Design: Nete Joseph
Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso, Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor
Premiere: July 12, 2008, Aspen Santa Fe Ballet, Santa Fe, NM
Aspen Santa Fe Ballet’s production of Red Sweet is made possible through the generosity of Melinda and Norman Payson.
HISTORYAspen Santa Fe Ballet’s founder, Bebe Schweppe, was visionary when she made the decision in 1996 to
create a company that residents in the Aspen Valley could call their own. Initially based solely in Aspen, Colo-rado, a second home for the company was created, in 2000, in another of the Southwest heartlands, Santa Fe, New Mexico. In both cities ASFB has helped strengthen the cultural fabric of the region, in synch with the world-class artistic activities in each of these beautiful communities.
The Aspen Santa Fe Ballet company is founded on the idea of acquiring repertoire and inviting top choreographers in the field to create works for the company. With its sophisticated repertoire and broad appeal, combined with a successful blend of entertaining and engrossing contemporary dance, ASFB is one of the real success stories in American dance today. Audiences locally, nationally, and internationally have embraced this vibrant company on stellar stages from The Joyce Theatre in New York to the famed Jacob’s Pillow Dance Festival, from The Kennedy Center in Washington DC to New York City Center’s Fall for Dance Festival and in foreign venues including Canada, France and Italy.
Over the years, Aspen Santa Fe Ballet has grown to become a multi-faceted entity, both as an internation-ally recognized dance company, and as one of the largest dance presenters in the country. As the company travels to cities far and wide, at home in Aspen and Santa Fe, it presents top level dance companies through-out the year. ASFB’s umbrella extends equally to its capacity as a center for learning, with a thriving dance school, and a much-celebrated Mexican folklóric dance outreach program for area children.
ASFB appeals, with its adventurous repertoire and beautiful western landscapes, as a gathering place for the finest dancers and choreographers in the world. Never forgetting its deep roots in the creative and his-toric wealth of these majestic and awe-inspiring communities, the organization remains deeply committed to expanding and enriching the world of dance. With its fusion of classical good sense and western ingenu-ity, Aspen Santa Fe Ballet blends the best of both worlds to create a dance company that is truly unique.
BIOGRAPHIESBebe Schweppe, Founder, grew up in Augusta, Georgia, and started dancing at the Georgia Dance Theatre, under Frankie Levy at the age of seven. She was invited by Robert Joffrey to study at his school in New York on a full scholar-ship at age eleven. Bebe moved to Aspen in 1975 and fifteen years later founded the Aspen Ballet School. Her presence was a catalyst in the region. In 1996, she invited Jean-Philippe Malaty and Tom Mossbrucker to develop a small professional company in Aspen. Through their combined ener-gies, the Aspen Ballet Company was born a year
later. Shortly after, new performing opportunities beckoned in Santa Fe, upon which the company was renamed Aspen Santa Fe Ballet. Bebe speaks with pride when she considers the changes that have occurred over the last years to her “baby.” “The Company has evolved to having earned a name of its own - ASFB. What a treat! It is recog-nized by other artists and respected by all. This is of course due in large part to Jean-Philippe and Tom.” She cites that “their strength has been in their unique ability to perceive and design a rep-ertoire that entertains all parts, whether it’s the
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audience or the dancer.” Tom and Jean-Philippe have “greatly succeeded” in realizing her dreams for the company, she says. “I am thankful that I had the dream and was lucky and persistent enough to convince JP and Tom to relocate from New York City. Never did I imagine that one day the company would be performing nationally and internationally and never did I imagine that one day they would be performing works by in-ternationally famous choreographers. Although I had the dream, I never imagined so much. I feel very lucky.”
Jean-Philippe Malaty, Executive Director, has been instrumental in building Aspen Santa Fe Ballet from the ground up. He was born in the Basque region of France, and recently became a United States citizen. After receiving his degree in dance, he accepted scholarships to train at Eu-rope’s prestigious Mudra (Maurice Béjart’s school in Brussels), and John Cranko’s ballet school in Stuttgart. At the invitation of David Howard, Jean-Philippe traveled to America to study at the David Howard Dance Center in New York City. He then performed soloist roles as guest artist with various companies throughout the U.S., including Joffrey II, Los Angeles Classical Ballet, Ballet His-panico of New York, and the Lyric Opera of Chica-go. He is in great demand as a guest teacher and has taught at schools and universities throughout the country. Jean-Philippe is dedicated to as-serting the prominence of the arts in the West, spearheading initiatives to bring dance into the community, and fostering programs that intro-duce children to the arts. He continues to provide invaluable creative assistance in all facets of the company’s operations. Jean-Philippe is equally proud to have forged a company based on an American ideal of energy, invention, popularity, eclecticism, and precision in what’s been called the “all star, no star” system. “Dance is a celebration of the human spirit, and not a celebration of steps. Here at Aspen Santa Fe Ballet, we foster the spirit and the love of dance.” – Jean-Philippe Malaty
Tom Mossbrucker, Artistic Director began his dance training at age 4 studying tap in his home-town of Tacoma, Washington. He studied ballet in New York City at the School of American Bal-let and the Joffrey Ballet School. He began his career dancing with Joffrey II before joining the main company,The Joffrey Ballet, where he per-formed as principal dancer to great acclaim in over 70 ballets. He danced ballets by some of the world’s greatest choreographers including Twyla Tharp, William Forsythe, Jiří Kylián, John Cranko, Fredrick Ashton, Agnes de Mille, Jose Limon, Paul Taylor and George Balanchine, and was lauded for his work in Moor’s Pavane, in which he played Iago, and Billboards, a full-length rock ballet set to
music by Prince. He also danced with the Atlanta Ballet and Hubbard Street Dance Chicago. Tom serves on the Board of Dance USA. Following in the tradition of Robert Joffrey, Tom is dedicated to presenting an eclectic repertoire, and com-mitted to acquiring new works that persistently challenge, enliven, and educate both audiences and the company dancers. Building relationships with choreographers has become a hallmark of the company. “We strive for continuity and enjoy bringing choreographers back to create second and third works...to us that is success,” Tom says. DANCER’S BIOS
Katherine Bolaños grew up in Oklahoma City and began studying dance at the school of Bal-let Oklahoma under Bryan Pitts and Laura Flagg-Pitts. At the age of 15, she joined the professional company of Ballet Oklahoma. As a guest artist with the Los Angeles Ballet Ensemble she also toured extensively through Taiwan and China. Katherine, who is in her seventh season with the Aspen Santa Fe Ballet, says she expresses herself through movement. “Dancing is demanding both physically and mentally, and I love to be chal-lenged.”
William Cannon is in his second season with As-pen Santa Fe Ballet. At age 11, William entered BalletMet Dance Academy in Columbus, Ohio, and in 2001 was a scholarship student at Hub-bard Street Dance Chicago’s Lou Conte Dance Studio. In 2002, he was selected as a finalist in the National Foundation for the Advancement of Arts’ “ARTS Week” initiative. Upon graduation from BalletMet’s Professional Training Program in 2002, he became a BalletMet company member. He has also danced with Hubbard Street 2 and Complexions. In 2005, William won a coveted spot in Dance Magazine’s “25 to Watch” roster. “(Dance) is a part of who I am and I can’t conceive of do-ing anything else,” he says. “It’s also an incredible way to connect to people, be it an audience or the other dancers on stage, without having to say a word.”
Sam Chittenden is in his twelfth year with Aspen Santa Fe Ballet. A BFA graduate of the University of Utah Ballet Department and Colorado State University, he enjoys the physicality of dance and the pairing of that physicality with artistic inten-tion. “I also love the mental challenges of dance and the thrill of performing,” says Sam. He has danced with the Utah Ballet and Canyon Concert Ballet in Fort Collins, Colorado, and has also stud-ied at the Ballet West Conservatory and Ballet Arts Minnesota. Sam also does graphic design and is an avid rock climber.
Katie Dehler’s passion for dance is palpable. “I love dancing because I love to perform on stage –
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you get to be somebody else for 20 minutes – or you get to just let go and see where the move-ment takes you. It’s like a different world that dancing allows you to glimpse.” Born and raised in St. Joseph, Minnesota, Katie began her ballet training at the Stroia Dance Studio. She continued her studies on scholarship with the University of Utah’s Department of Ballet where she received her BFA with a performance emphasis. Now in her tenth season with ASFB, Katie sees dancing as challenging, both physically and mentally. “It’s so inherently individual – it’s fun to see how every-one interprets the movements differently.”
Seth DelGrasso is a founding member of Aspen Santa Fe ballet, now beginning his thirteenth sea-son with the company. “The relationship created between choreographer, dancer, and audience, whether expressing a character, or a choreogra-pher’s intention and feeling, is the most reward-ing facet of dance” says Seth. The Colorado native moved to New York to study dance with David Howard, Nanette Charise, Simon Dow, Gelsey Kirkland, and Talara Ruth. Although Seth has made numerous guest appearances with Com-plexions, and other companies, he considers “ASFB (to be) the prime influence in my career.”
Samantha Klanac, now in her eighth year with Aspen Santa Fe Ballet, loves testing the limits, striving for something fresh, innovative and excit-ing. Growing up in Orchard Park, New York, Sa-mantha trained at the American Academy of Bal-let, later was on scholarship at The Chautauqua Institute, New York State Summer School of the Arts, and School of American Ballet. She also has the distinction of, upon graduating high school, having studied at SUNY Purchase where she per-formed with American Ballet Theatre Studio Com-pany. “I love the feeling of being on stage, and the adrenaline of a performance.” In addition to her work with ASFB, she was a guest artist with Con-figurations Dance Company and recently com-pleted her BA in the Arts, in February, 2008 from State University of New York (SUNY) Empire State College, Center for Distance Learning. Nolan DeMarco McGahan, a native of Dallas, Texas, trained at Dallas Ballet Center, Ballet Acad-emy of Texas, and with Fernando Bujones at the Orlando Ballet School. He also attended Booker T. High School of the Performing and Visual Arts be-fore graduating from The Julliard School in New York, earning his BFA in Dance, and dancing works by noted choreographers. “There are many things I love about dancing. One thing I have loved about dancing from Day One is the athleticism.” This is Nolan’s third season with ASFB.
Emily Proctor, a recent graduate from Juilliard, is thrilled to be starting her third season with the company. “I love dancing because I love meeting
the people that are involved in the field. It’s fun to be a part of the small world that is dance.” A na-tive of North Carolina, Emily trained at the North Carolina School of the Arts and graduated in 2003 with a concentration in ballet. Emily has trained at the Houston Ballet, ABT New York, and Montreal’s Ballet Divertimento professional summer pro-gram. Prior to joining ASFB she had the opportu-nity to join Hell’s Kitchen Dance on a national and international tour last summer of Aszure Barton’s Come In, starring Mikhail Baryshnikov.
Seia Rassenti, originally from Arizona, danced with Flamenco Y Mas as a youngster and began her ballet training with Linda Walker at The Tuc-son Regional Ballet. In 2002 she was accepted to The Kirov Academy of Ballet in Washington DC under the artistic direction of Oleg Vinogradov. While at the Kirov she spent summers on schol-arship with Jilana, Debbie Allen, Alvin Ailey, and the Miami City Ballet. Seia graduated from the Kirov and joined North Carolina Dance Theater’s second company in Charlotte. During the two most recent summers Seia accepted invitations to train with Alonzo King’s Lines Ballet and Dwight Rhoden’s Complexions. “Dancing is like breathing for me; I just can’t live without it!” This is her first season with Aspen Santa Fe Ballet. Joseph Watson started his formal dance training at an after-school program called T.W.I.G. S. (To Work In Gaining Skills). His training at T.W.I.G.S. led to his acceptance into the Baltimore School for the Arts (BSA) under the tutelage of Norma Pera. Upon graduating high school he was accepted into The Juilliard School under the direction of Lawrence Rhodes and received a BFA in dance. In 2007, Joseph joined North Carolina Dance The-atre where he performed both contemporary and classical roles by choreographers such as Dwight Rhoden’s Othello and George Balanchine’s 4 Tem-peraments. Joseph believes “dance is a way for me to do a lot of self discovery and realize that there is no limit to what a person can do artistically.” This is his first season with Aspen Santa Fe Ballet. CHOREOGRAPHER’S BIOSJorma Elo, ChoreographerIn just a few short years, Finnish-born Jorma Elo has become one of the most sought-after chore-ographers in the United States and Europe. Elo, who was named Resident Choreographer of Bos-ton Ballet in 2005, was singled out as a “talent to follow” by Anna Kisselgoff in her 2004 Year in Re-view for The New York Times. It was an astute ob-servation. Since then Elo has created new works for New York City Ballet (Slice to Sharp), Boston Ballet, Aspen Santa Fe Ballet (Pointeoff), Ameri-can Ballet Theatre (Glow-Stop), Hubbard Street Dance Chicago, Royal Danish Ballet, State Theatre
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Nuremberg, and Norwegian National Ballet. Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. Prior to joining Netherlands Dance Theater in 1990, he danced with Finnish National Ballet from 1978 through 1984 and with Cullberg Ballet from 1984 through 1990. Throughout his career as a dancer Elo worked closely with numerous master chore-ographers, including Jiří Kylián, Hans van Manen, Mats Ek, Ohad Naharin, William Forsythe and Paul Lightfoot. Elo has also choreographed for Basel Ballet, Ballet Debrezen (Hungary), Alberta Ballet (Blank Snow and L’Apres Midi d’un Faune/Spec-tre de la Rose), Norwegian National Ballet (Cut to Drive), Finnish National Ballet (Happy is Happy, Twisted Shadow, Two Fast, Offcore), Stockhom 59° North (in my DREAM team), and Netherlands Dance Theatre 1 (1st Flash and Plan to A). For Bos-ton Ballet, Elo has created three world premieres: Sharp Side of Dark (2002), Plan to B (2004) and Carmen (2006). He is also a skilled designer of cos-tumes, lighting and video effects for his ballets. Elo was awarded the choreographic prize at the 2005 Helsinki International Ballet Competition. Dance Magazine recognized Elo as one of 25 to Watch, and Pointe Magazine named him a VIP of Dance in 2006.
Nicolo Fonte, ChoreographerNicolo Fonte, from Brooklyn, New York started dancing at the age of 14. In addition to studying on scholarship at the schools of the Joffrey Bal-let, San Francisco Ballet and New York City Ballet, Nicolo completed a Bachelor Degree of Fine Arts in dance at SUNY Purchase. In 1988 he joined Les Grands Ballets Canadiens in Montreal. From 1994 through 2000 Nicolo danced with Mr. Dua-to’s Compañia Nacional de Danza in Madrid, and was also invited repeatedly to choreograph for this outstanding group. Nicolo has created and staged ballets for a very eclectic range of dance companies. Pacific Northwest Ballet, The Royal Ballet of Flanders, Stuttgart Ballet, The Australian Ballet, Ballett Mainz, Ballett Nürnberg, Les Grands Ballets Canadiens, Aspen Santa Fe Ballet, Cedar Lake, North Carolina Dance Theatre, Tulsa Ballet, Ballet British Columbia and Les Ballets Jazz de Montreal all have works of his in their repertory. R.M.Campbell of the Seattle Post- Intelligencer states, “Fonte is a thinker, an architect who cre-ates the new rather than reinvent the old. He is a master of manipulating space and creating re-lationships.” Nicolo has also established an ongo-ing relationship with The Göteborg Ballet in Go-thenburg, Sweden. Nicolo has also been invited to create new works for The Royal Danish Ballet, The Dutch National Ballet and The Royal Ballet of Flanders. William Forsythe, ChoreographerWilliam Forsythe is widely considered one of the
most important dance artists of our time, on a par with such giants in the dance world as George Balanchine. A revolutionary thinker and artistic provocateur, Forsythe has set new standards in-ternationally for ballet and modern dance com-panies alike. His Frankfurt Ballet (known as Ballett Frankfurt abroad) has attracted the top dancers in the world, and the company¹s rare concerts in the U.S. have been occasions for pilgrimages by a faithful following.
Forsythe is a towering figure in his field, equally acclaimed for his daring and his virtuosity, says Sherri Geldin, Wexner Center director. He is an undisputed revolutionary who has altered the formal and conceptual terrain of dance, yet he has never lost touch with the pure physical joy of dancing.
Twyla Tharp, ChoreographerIn 1965 Ms.Tharp formed Twyla Tharp Dance, cre-ating 80 pieces including NINE SINATRA SONGS and IN THE UPPER ROOM. When TTD merged with American Ballet Theatre, she created over a dozen works. She also choreographed for Paris Opera Ballet, The Royal Ballet, NYC Ballet, Boston Ballet, Hubbard Street Dance, Martha Graham Company, etc.
Broadway: WHEN WE WERE VERY YOUNG, THE CATHERINE WHEEL with David Byrne, SINGIN’ IN THE RAIN, and MOVIN’ OUT with score by Billy Joel winning Ms. Tharp a Tony Award, Astaire Award, Drama League Award for Sustained Achievement in Musical Theatre, Drama Desk Award and Outer Critics Circle Award for Outstanding Choreogra-phy.
Film: Collaboration with Milos Forman on HAIR, RAGTIME and AMADEUS ; Taylor Hackford on WHITE NIGHTS; and James Brooks on I’LL DO ANYTHING.
Television: SUE’S LEG for PBS’ DANCE IN AMERI-CA; co-produced/directed MAKING TELEVISION DANCE, winner of the Chicago International Film Festival Award; directed THE CATHERINE WHEEL for BBC-TV; co-directed BARYSHNIKOV BY THARP, winning 2 Emmy Awards and the Director’s Guild of America Award for Outstanding Direc-tor Achievement. Books: PUSH COMES TO SHOVE and THE CREATIVE HABIT: LEARN IT AND USE IT FOR LIFE.
Ms. Tharp has received19 honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of Arts and nu-merous grants including the John D. and Cath-erine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences and an Honorary Member of the American Academy of Arts and Letters. She continues to create, write and lecture.
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ADMINISTRATIONdirector, Dr. Willie L. Hill, Jr.associate director, Dennis Conwayassistant to director, Kate Copenhaver
BUSINESS OFFICEdirector of administration and finance, Margaret Curtissbusiness office manager, Sonia Kudlatechnical systems manager, Christine Texierabookkeeper, Cyn Hortondepartment assistant, Connie Whigham
MARKETING AND DEVELOPMENTdirector of development, Lucia Millerdirector of marketing, Shawn Farleycommunity relations manager, Anna Robbinsdirector of graphics and communication, Yvone Mendezinterim marketing & development assistant, Jessica Barkermarketing assistant, Jorge Luis Gonzálezmarketing intern, Martín Meccouri
BOX OFFICEmanager, Steven Coombsassistant manager, Richard Ballon
PRODUCTION SERVICESdirector of operations, Lewis E. Louraine, Jr.associate director of operations, Fritz Farringtonassistant technical director, Bob Mahnkenlighting director, Erica McIntyreaudio director, Michael McLaughlinproduction stage manager, Brenda Cortinaaudience services manager, Nicole Youngoffice manager, Racquel Caposella
EDUCATION program director, arts council, Sally O’Sheaassociate director of academic programs, John Jenkinsacademic program manager, lively arts, Donna Carpenterprogram director, jazz in july, Frank Newton
PERFORMING ARTS PROGRAMSAsian Arts & Culture director, Ranjanaa Deviassistant to the program director, Sue McFarland
Center Seriesdirector of programming, Kathryn Maguetassistant director of programming, Halina Kusleika VISUAL ARTS PROGRAMSUniversity Gallerydirector, Loretta Yarlowgallery manager, Craig Allabenbusiness manager, Lori Tuominencollection registrar, Justin Griswoldcurator of education, Eva Fierst
Augusta Savage Gallerydirector, Terry Jenouregallery manager, Alexia Cota
Hampden & Central Galleriesdirector, Anne La Pradegallery manager, John Simpson
Ian H. Fraser, Chair
Legrand Hines, Jr., Vice Chair
Mary-Ellen Anderson Neal AbrahamWilliam BaczekMarc Berman Martha Borawski Brandt Rebecca CapliceKevin J. ChrobakA. Rima DaelWilliam A. DaritySteven K. DauryAllen DavisJoAnne Finck Lori J. FriedmanMansour Ghalibaf Fran GoldsherNancy J. HamelJustine G. Holdsworth Motoko InoueAaron Julien Alexandra Kennedy James Mallet Gregory A. MalynoskiIsolda Ortega-Bustamante Tini SawickiNanami Shiiki William T. Stapleton Sarah Tanner Karen A. Tarlow William H. Truswell, MD.
HONORARYNnenna FreelonMichael HaleyJimmy HeathSheila Jordan Yusef Lateef Stan RosenbergGeorge Trakas Billy TaylorPeter TolanLois Torf
EMERITIFrederick Tillis, Director Emeritus
Frank AndersonBarbara C. BernardRichard CovellHonore David Betsy EganCarl EgerSeymour FrankelArnold FriedmannGwendolyn GlassJ. Lynn Griesemer Alfred L. GriggsJoan Haley Merilee Hill Bill HoganDolly Jolly David MartulaKathy Mullin Sandra ParentLorna M. Peterson Zina Tillona Rob Yacubian
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CHANCELLOR’S CIRCLE$10,000 & above
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Thank you to all the Friends of the Fine Arts Center who play an integral part in making pos-sible our performances, exhibits and educational programs. We especially want to recognize the following donors whose generosity helps to support artist educational residencies, the Angel Ticket program, our several endowments, and our unrestricted annual fund benefiting all programming. Fine Arts Center donors make a difference!List from July 1, 2009 - March 16, 2010
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IndividualsRichard Peter BeckMartha Borawski & Bill BrandtEric CarleA. Rima Dael & Brandon BraxtonSteven & Alejandra DauryDon & Honoré DavidDonna EstabrooksLinda & Ralph FaulkinghamJayant & Alissa HaksarMichael & Joan HaleyAlexandra Kennedy & James HaugNicholas B. KuckelCarol LaRoccaJames MalletJohn J. McCarthy IIIScott Prior & Nanny VonnegutLorna RitzHarry & Charlena SeymourBenedict SmarJames V. Staros & Alice C. Harris Ruth K. WebberDeter Wisniewski
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Hotel CommonwealthJones Group RealtorsThe LIFTSandri Co.Sasaki Associates, Inc.Thayer Street Associates, Inc.Thomson Financial ManagementTravel ImpressionsWhalen Insurance Whole Foods
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IndividualsAnonymous DonorsIra S. & Bina G. AddesDouglas W. AdlerPeggy Anderson & Andrea WrightPaul & Marie ApplebyRonald ArcherCharles & Deborah AustinJudith & James AverillJoe M. BaillieAndrew H. Balder & Cynthia A.
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Janoff-BulmanAnne & Anthony BurtonBarton Byg & Jan WhitakerElizabeth & Thomas CaineMelvin CarlsonRoland & Elizabeth S. ChiltonDr. & Mrs. Charles E. ClappLise N. Cooley Christin A. CoutureJean Rydberg Dempsey &
David DempseyNancy E. DiMauro Kelly & Charlie DeRoseMindy Domb & Matthew SadofJasmine ElefherakisJulius & Edith FabosFritz Farrington & Suzanne HaydenMarc & Laura FellerOriole & Sidney FeshbachEdith FierstLori J. FriedmanLisa FontesMaurille & Janice FournierDr. & Mrs. Robert W. GageSally & Richard GiglioBill & Connie GillenMichael & Sandra GillisMarcia & Sheldon GoldmanSonja GoodwinRobert GordonRaymond & Jacquelyn GrantCharles HadleyLouise R. HammannWilliam HarrisMeg & Allen HartSarah L. HawesLeta HermanDoris R. HoldenRichard L. & Camilla S. HumphreysBecky IkeharaWilliam Irvine & Susan LeschiveChip JacksonWillard M. Johnson
Nancy KatzJeffrey L. KaufmanBarbara KeeganDiane E. KeltonEdmund M. KeyesRuth KjaerRepresentative Stephen &
Suzanne KulikKenneth & Joan LangleyRobert Littman in honor of Jacob
Littman ‘09E. Holland & Marilyn LowThomas J. Luck & Elizabeth KidderJames LumleyLewis & Caden MainzerMeryl Mandell & Stephen SmulskiJames E. MarquisDavid & Tanyss MartulaKenneth McCormickPatricia McGarryLinda C. McInerneyDaniel & Ellen MelleySusan B. MeyerThomas MeyersLucia N. MillerFrancis & Nancy MirkinMark MitchellHannah MorehouseSuzannah Fabing & James A.
Muspratt Thomas P. NavinDorothy Nemetz & John ToddRebecca NordstromThomas O’BrienJeanne O’ConnellRobert & Carol OstbergGordon & Cindy PalleyNaomi & Micha PelegAlexander & Harriet PollatsekPatricia & Donald PolonisNicholas P. PoshkusRobert & Jeanne PotashStanley J. RabinowitzMeredith B. RaymondRonald A. & Michelle RiceJoan H. RosenbaumSenator Stan RosenbergBarbara & David RothenbergEileen P. & Paul L. RottyMargery H. RoyJay SchaferAnne SciglianoAmilcar ShabazzMelanie Gallo & Stan SmithMary SorcinelliRobert & DiAnn SpethBrendan Stecchini & Paula HodeckerSharon SwihartJack Szpiler & Colleen AhernPamela TillisMichele ToporJohn & Peggy TownsendDaniel TrennerChinua & Mikiko ThelwellLori & Mark TuominenSara & Joel UptonElizabeth J. Vastine
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Patricia VidilJane VoglPauline VolpeThomas WargerBill & Ellen WesterlindNancy Winter in memory of
Jerry WinterVivian WnukConrad & Barbara WogrinSusan & Stephen WoodJonathan A. & Meg Kelsey WrightRuth YankaMarsha & Bill Zimmer
Businesses20th Century IlluminationsA2Z Science & Learning StoreAllen House Victorian InnAmherst Cinema Arts CenterAngelo’s Golden HarvestAnita Eliason DesignsBayside ResortBerkshire East Ski AreaCathy CrossChanges SalonCollette VacationsCrump ‘n Fox Golf ClubElements Hot Tub & SpaEric Carle Museum of Picture
Book ArtGreen Street CaféHadley Garden CenterHaydenville Woodworking &
Design, Inc. The House on the HillJacob’s Pillow Dance FestivalJudie’s RestaurantKripalu Center for Yoga & HealthLiquors 44Modern Memoirs Private
Publishing, Inc.North Amherst Motors
Collision Repair Ctr.Northampton Chamber of
CommerceNorthampton Youth &
Community RowingThe Porches InnSalon 241Spirit HausMichele Topor, Inc.Whetstone Engineering
FRIEND$50–$99
IndividualsAnonymous DonorsRon Ackerman & Cleo GormanJill P. AndersonRuth Devine AnthonyJustine BertramJeffrey G. & Karen BoshartJim BothwellL. Squire & Carol BressorDaniel & Susan CarmodyMichael Childs & Diane AmsterdamDeene D. & Ann ClarkSheila & Michael Connelly
Lynda CopelandDennis Conway & Steven LightSylvia CuomoCarol & John Drohan Nancy E. Schroeder & Julia L.
DemminSharon L. DownsRita & Oscar EdelmanJan EsselenJeffrey & Donna FitzgeraldRaissa K. FitzgeraldRichard A. FleischerTimothy & Mary FosterDaniel P. FreemanLucia GettierAgnes, Jean & Roger GosselinJorge Luis Gonzalez & Beth FraserWalter A. & Florence HaasDwight L. HallErin HalpinWendy & Andrew Hammond Ira & Patricia HareRuth HarmsPatricia HayesEric & Yehudit HellerBill HenryMarjorie Hess & Rudolph TalaberMichelle HollandGretchen JacobStephanie A. Jacobson-Landon Lawrence & Janice KossGary & Nancy LamoureauxJohn D. LeoneKristin LeutzCheryl LichwellDonald LogieNancy MaglioneJudith MannCarmela MarzanoGeorge & Esterica McGillMichael J. MenneMira & Premachandran Menon Hayley MermelsteinCharlotte MeyerAmy Mittelman & Aaron BermanCharles & Kay MoranGillian MorbeyKathleen Morrissey-MoriniHarold MosherDavid & Betsy MullinsHarriet NaughtonCarl G. NealLinda Overing & John RyanGerald L. PaistMarianne PedullaSidney PoritzPat PowersWilliam & Marietta PritchardRenna W. Pye Joan & Monroe RabinThomas E. RadloJames & Janice RatnerWilliam & Pricilla RiceSteven, Anna & Calder RobbinsGeorge SchreiberElizabeth A. Silver
K. Marilyn StampaDavid & Nina SteinbergOtto & Diana SteinRobert Stern & Judith S. GlaserArvid TenneyBetty Veres ThurstonNancy & Philip TorreyBernice L. TroutmanAndree UhligMarion & Robert WaleryszakGeorge & Judy WardlawVirginia & Bill WolfMichele Zimmerman
FOUNDATIONS & ORGANIZATIONSAmerican Friends Service
CommitteeThe Andy Warhol Foundation
for the Visual Arts, Inc.Bank of America FoundationChamber Music AmericaCommunity Foundation of
Western MassachusettsConsulate General of the
NetherlandsFive Colleges, Inc.Five College Center for
East Asian StudiesFive College Dance DepartmentMassachusetts Cultural CouncilMcCluskey FoundationNew England Foundation
for the ArtsNew England Revolution
Charitable Foundation Non-Profit Finance FundRamsey McCluskey Family
Foundation Springfield Symphony ChorusSpringfield Symphony OrchestraSwiss Consulate of New YorkTD Bank Charitable Foundation University of Massachusetts
Amherst Alumni AssociationUMass Music & Dance DepartmentUMass Student Affairs Cultural
Enrichment FundUniversity WomenVSA Arts of Massachusetts Vidda FoundationWestern MA Chapter of the
American Institute of ArchitectsXeric Foundation
MATCHING GIFTSAetna Foundation, Inc.Fleet Foundation GroupGeneral Electric FundLucent Technologies FoundationMassachusetts Mutual Life Insurance Co.Metropolitan Life Insurance Co.New Alliance FoundationPeoplesBankPrice Waterhouse CoopersSovereign Bank
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Patron ServicesRefreshmentsConcessions are available before the performance and during intermission for most Center Series Concert Hall events. For patrons in our wheelchair section, please notify an usher and they will be happy to bring the refreshments to you. RestroomsRestrooms are located on the lower level of the Fine Arts Center Concert Hall adjacent to the University Gallery and in the Concert Hall main lobby. When available there are additional restrooms in the Rand Theater area. Fully accessible restrooms are available in the Concert Hall and Bowker Auditorium. Restrooms in the Concert Hall for the mobility impaired are located in the lobby and the refuge area outside section 3 on house right.
Drinking FountainsDrinking fountains are located on the lower level of the Concert Hall near the restrooms and in the lobby.
Late SeatingPatrons arriving after the start of the performance will be seated at an appropriate break.
Pagers and Cell PhonesPlease turn off all pagers and cell phones when entering the seating area.
On Call ServiceDoctors and persons needing emergency call service are asked to leave their name and seat location with the box office. If you keep a pager with you, please use the silent, vibration option.
Cameras and Recording DevicesThe taking of photographs or recording the performance in any way is strictly prohibited.
For Hearing-Impaired Patrons Assisted listening devices: Induction
loops and headsets are available for patrons with hearing impairments and may be checked out with an ID in the lobby prior to the performance. Compatible with most ALS systems and in compliance with the ADA. A credit card, driver’s license, or valid student ID will be held as security while devices are in use. Emergency ClosingIn case of emergency, the lighted, red, exit sign near your seat is the shortest route to the exterior of the building. For your safety, please check the location of the exit closest to your seat and review the evacuation map included in this playbill. Also, follow thedirections provided by the ushers.
Accessible ParkingAn access-parking permit or plates must be visible to parking attendants.
For Your Viewing PleasureCheck out what’s on view in the University Gallery. The University Gallery is located on the lower level of the Concert Hall and is open one hour prior to the start of performances and during intermission. The Gallery is also open to the public Tuesday through Friday, 11am to 4:30pm, and Saturday and Sunday, 2 to 5pm.
Performance CancellationFine Arts Center performances are rarely canceled and only in the case of severe weather. If a performance is canceled, you can call the Box Office at 1-800-999-UMAS or 545-2511 or tune in to the following radio and television stations: public radio station WFCR 88.5FM, WRNX 100.9FM/WPNI 1430AM, WHMP 99.9FM, WMUA, WRSI 95.3FM, WHYN, WMAS, WWLP-TV22 and WGGB-TV40. If a performance is canceled, patrons may exchange tickets for another event (subject to availability), may receive a credit on their account, or may request a refund.Please recycle your playbill in the lobby.
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ENJOYWe are proud to support the Fine Arts Center.
Member FDICMember DIF
We are dedicated to the proud tradition of supporting thebusinesses and communities we serve...since 1869.
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University of Massachusetts Amherst
The UMAss hoTel AT The CAMpUs CenTer877-822-2110 • www.umasshotel.com
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Thursday April 22Eco-Exchange (season premiere) - 7:30pmFriday, April 23Green Builders - 10pmSaturday, April 24When Learing Comes Naturally - 4pmSunday, April 25Sunday, April 2540th Anniversary Earth Day Celebration Northampton Eco-Fair and Family Funfest - 11am - 4pm Pulaski Park & The Center for the Arts Dar Williams in Concert with Patty Larkin The Academy of Music - 4pm
Saturday April 17Electronics Recycling (Holyoke)Sunday, April 18Franklin County Home Show (Greenfield)Monday, April 19Earth Days: American Experience - 9pmTuesday, April 20Tuesday, April 20Independent Lens: Dirt! The Movie - 10pmWednesday, April 21P.O.V. - Food, Inc. - 9pm
Celebrate 9 days of Earth Day
UMassAlumni.comProviding programs and services to enlighten, strengthen
and develop students, faculty, staff and alumni
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Amherst, MA 413-549-5799www.krausfitch.com
HOME - COMMUNITY - PLANET
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The exhibition and its catalogue were organized by the Herbert F. Johnson Museum of Art at Cornell University, in conjunction with the Nasher Museum of Art, Duke University and was made possible in part by the National Endowment for the Humanities. Presentation of the exhibition at SCMA was made possible by the Suzannah J. Fabing Programs Fund for SCMA.
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We take audience participation to a whole other level.
At PeoplesBank, we offer our support because we’re part of the community that is enriched by
organizations like the Fine Arts Center. And that enhances the quality of life for
all of us in the Pioneer Valley.
413.538.9500 bankatpeoples.com Member FDIC/Member DIF Equal Housing Lender
Great relationships start here.
21PB242_4_875x7_75_FineArt_s2.indd 1 8/13/08 9:29:52 AM
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UMass Fine Arts Center playbill; Full Page; Full Color; 4.875 x 7.75Specs: Electronic files should be in a PDF format. When saving in PDF, please embed all fonts
and include high-resolution graphics. We can also accept Photoshop, Illustrator, and InDesign files.Please include all fonts and artwork for the ad. We can accept Macintosh files if they’re burned to a CD.
A proof (color if applicable) must be provided for all files. Color advertising spaces are limited.Please email electronic files directly to [email protected] or call 413-545-4159
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