Carolina

Performing
Arts 2010/11

Sutra – Sidi Larbi Cherkaoui / Sadler’s Wells London

Wednesday, November 10 at 7:30 PM
Thursday, November 11 at 7:30 PM carolina performing arts 10/11 1
carolina performing arts 10/11 3
 Dear Friends
When the temperature begins to drop, taking us into fall and then winter, life starts to feel
crisper, clearer, more focused. As our sticky Southeastern summer finally lets go, and in its
place come bright leaves and a sort of electricity in the air, it’s like I see the world through dif-
2010/11 season

ferent eyes, taking new interest in things I had stopped noticing. As the natural world reinvents
itself during this exciting time of year, I am constantly reminded of the great power of the arts
to sharpen our focus, change our perspectives and force us to view ourselves in new light.
With this year’s Carolina Creative Campus, Voices of Dissent: An exploration of speaking up,
acting out, being against, thinking differently, finding a voice, we seek to explore this great
power. Again and again, throughout histor y and today, artists have used their gifts to call the
world into question, force us out of complacency and challenge us to look critically at issues
we might rather ignore. With Voices of Dissent, we hope to start a rich dialog about how and
why artists have chosen to speak up, and how they have found a voice.
Through a series of per formances, discussions, lectures and exhibits, Voices of Dissent en-
gages the greater campus community, working to connect passionate thinkers and creators in
the area with the incredible array of talented artists who will visit us this year. To me, there
is no more rewarding experience than watching something click in the mind of a student or
a community member, to watch a perspective shift, to see a light turn on in the process of
grappling with the arts.
A huge and important part of the work we do at The Office of the Executive Director for the Arts
takes place outside of Memorial Hall, working with artists to build relationships, spark dialog
and enliven the atmosphere of our community. Just like the changing of the seasons, I can feel
a tangible change in the atmosphere of the place as our visiting artists find their way into the
community, inspiring and challenging us to think deeper, to feel more profoundly.
As the season changes, and life in this community reaches its highest pitch, I invite you to discover
this great power of the arts. Whether you engage with our artists on the Memorial Hall stage, in the
various events that make up our Voices of Dissent series, or – hopefully – both, I encourage you to
focus in, open up and let the arts give you new perspective. You may surprise yourself. You may find
yourself standing up, speaking out, finding a voice you never knew was there.

Sincerely,

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

in•spi•
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(919)843-3333
 season
10/11season
ACKNOWLEDGMENTS
Carolina
Performing
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

Arts 2010/11
Faculty Council, Student Body Government and UNC News Services.
Elite Coach is the of ficial transpor tation provider for Carolina
Performing Arts’ artists.

Administrative staff
Emil J. Kang – Executive Director
Kelly Boggs – Audience Services Manager
Michelle Bordner –Director of Artist Relations
Priscilla Bratcher – Director of Development
Amy Clemmons – Development Assistant
tableofcontents
Reed Colver – Director of Campus and Community Engagement
Jennifer Cox – Administrative Assistant
6 Ozomatli
Mary Dahlsten – Box Office Manager
Butch Garris – Production Manager
8 Cedar Lake Contemporary Ballet
Erin Hanehan – Campus and Community Engagement Coordinator
Matt Johnson – Production Manager
12 Hugh Masekela
Melchee Johnson – Development and Stewardship Manager
Mike Johnson – Director of Operations
14 The Mariinsky Orchestra with Valery Gergiev,
Harry Kaplowitz – Marketing Manager music director and conductor
Kara Larson – Director of Marketing and Public Relations
Sean McKeithan – Marketing and Communications Coordinator 20 Omara Portuondo
Dan McLamb – Tessitura Systems Administrator
Meghan McNamara – Artistic Coordinator 22 Kremerata Baltica with Gidon Kremer,
Melissa Peng – Campus and Community Engagement Coordinator artistic leader and soloist
Melody Pineda – Artistic Assistant
Mark Steffen – Events Manager 26 Sutra –
Paul Wilson – Blackbaud Data Specialist
Tammy Womack – Human Resources and Finance Manager Sidi Larbi Cherkaoui / Sadler’s Wells London
Memorial Hall Box Office student staff 30 Carrie Rodriguez and Ben Sollee
Stefanie Deleon Devon Haas
Sarah Jastram Savannah Haas 34 Nutcracker – Carolina Ballet
Sarah Johnson Rebecca Watson
Jenny Kreizman Katie Lundsgaard
Bill Kumpf Grace Oran 36 Important Information
Stephanie Sun Thomas Wiggins
Jonathan Thomas 37 Board, Endowment, Society

•ra•tion
38 Donor Spotlight
Advertisers Make This Book Possible
This program book would not be possible without the advertisers 39 Donors
who support it. Their patronage means this information is available 44 Student View
to you without cost to Carolina Performing Arts. We extend our
gratitude and encourage you to thank them, as well. 45 Advertisers Index
46 The Last Word
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 at (919) 834-9441 or amys@opus1inc.com.

carolina performing arts 10/11 5

 special event special “...full-throttle
live performances...”
- Los Angeles Times

Credit: Jon Coulthard

Ozomatli
Friday, October 1 at 8 PM

Asdru Sierra: trumpet, lead vocals, piano

Jiro Yamaguchi: tabla, cajon, assorted percussion, background vocals
Justin “El Niño” Porée: percussion, rap, vocals
Mario Calire: drums
Raúl Pacheco: guitar, tres, jarana, vocals
special event

Ulises Bella: saxophone, background vocals, requinto jarocho, keyboard, melodica

Wil-Dog Abers: bass, marimbula

voices of dissent

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event
Ozomatli
In their fourteen years together, celebrated
Los Angeles culture-mashers Ozomatli have
gone from hometown heroes to US State
Department Cultural Ambassadors with their
notorious urban-Latino-and-beyond collision
of hip hop and salsa, dancehall and cumbia,
samba and funk, merengue and comparsa,
East LA R&B and New Orleans second line,
Jamaican ragga and Indian raga.
Originally formed to play at an area labor
protest over a decade ago, Ozomatli spent
some of their early days participating in
everything from earthquake prep “hip hop
ghetto plays” at inner-city LA elementary
schools to community activist events, pro-
tests and city fundraisers. Ever since, they
have been synonymous with their city: Their
music has been taken up by The Los Angeles
Dodgers and The Los Angeles Clippers; they
recorded the street-view travelogue City of
Angels in 2007 as a new urban anthem; and
most recently, they were featured as part of
the prominent LA figures imaging campaign
We Are 4 LA on NBC.
Proudly born as a multi-racial crew in post-
uprising ’90s Los Angeles, the band has
built a formidable reputation (over four
full-length studio albums and a relentless
touring schedule) for taking party rocking
so seriously that it becomes new school
musical activism. A favorite of international
audiences, they were invited by the US State
Department in 2007 to serve as Cultural
Ambassadors on a series of government-
sponsored international tours to Asia, Africa,
South America and the Middle East.
For those who wondered how a band known
for its vigilant anti-war stance could become
a partner with the very Bush administration
they so vocally criticized, the band was clear
about their position: it was all about using
music to promote peace and understand-
ing. Using the power of their own diversity,
Ozomatli is committed to addressing social
issues of local, national and international
importance.
on ozomatli
I assumed that in
moving to Southern
California for grad
school I was, in a
sense, going home.
After several years in
freezing New Haven,
Connecticut, San
Diego and Tijuana
sounded like hippie cousins to the pairs of
Texas and Mexican cities that straddle the
Rio Grande, my home. I came of age in a
pre-9/11 era when the communities of El
Paso, Texas, and Juárez, México, were really
one giant metropolis, separated only by a
porous membrane of immigration officials
whose primary job was to generate rough
notions of peoples’ nationalities from cursory
examinations of accents and skin tones. The
music to which my friends and I listened
– Malo, Freddie Fender, Los Lonely Boys –
offered the same blend of US twang and
Mexican rhythms that peppered our speech
and our lives.
Instead, California challenged my conception
of what the US/Mexico border looked,
smelled and sounded like. This border was
much more diverse than the one on which I
was raised. Rather than the rhythms of my
Tejana homeland, this place combined funk,
rap, banda and oldies with a cool Chicana/o
beat. Somehow Ozomatli, capturing all
of those sounds, came to symbolize my
Southern California experience. Living in
San Diego, you heard them everywhere –
but not in the monolithic, blatant way that
you heard Top 40 hits. Rather, Ozomatli’s
music was what drifted out a car window as
a group of teenagers rolled down the street.
It leaked out of the corners of grad student
FRI OCT 1 | 8:00 PM
Ashley Lucas
parties. It wafted up to my room – along
with the sound of a distinctly enraptured
crowd – one summer night as I struggled
with my dissertation, listening through my
apartment’s open windows. Their music
was a secret this strange new border world
seemed eager to share with me. Their activist
politics slipped seamlessly into the writing
and thinking I was doing at that period in my
life, and the resonance of their sound became
the background to the social landscape I
inhabited: historic murals in Chicano Park,
immigration rallies in San Ysidro.
Ozomatli and Southern California expanded
my understanding of the border and the
mezcla of people and cultures thriving
there. And they helped prepare me for the
experience of other new border states, literal
and metaphorical. For example, the one in
which you, reader, are presumably standing.
Currently Carolina del Norte has the highest
number of immigrants per capita in the entire
country, and this is due mainly to immigration
from Latin America in the past ten years. It
is home to an emergent US Latina/o culture
that will look very different from those I
encountered in Texas and California – and
that faces struggles against reactionary
nativism that both recall and differ from the
struggles I encountered in those states.
Someday residents of the Southeastern US
will likely hear the sounds of reggaetón and
Latin pop music blending with jazz and the
blues. These new groups will be hard pressed
to synthesize cultures, languages and sounds
as compellingly as Ozomatli does.
Ashley Lucas is an Assistant Professor in the
Department of Dramatic Art at The University of
North Carolina at Chapel Hill.
carolina performing arts 10/11 7
 dance

“…pulls viewers right

out of their seats.”
- The New York Times

Credit: Erez Sabag

Cedar Lake Contemporary Ballet

Friday, October 8 at 8 PM

Program
Sunday, Again by Jo Strømgren

INTERMISSION

The Fools – US Premiere by Hofesh Shechter

INTERMISSION
dance

Hubbub – world Premiere by Alexander Ekman

www.carolinaper formingar ts.org

(919)843-3333
dance
Founder......................................... Nancy Laurie
Artistic Director.................. Benoit-Swan Pouffer
Executive Director............................. Greg Mudd
Company Manager......................Pamela Vachon
Production Manager.......................... Anita Shah
Ballet Master ........................Alexandra Damiani
Technical Director......................... Andy Cappelli
Production Stage Manager................................
Renata Braga de Almeida
Audio Video Supervisor....................Dave Rogge
Lighting Supervisor........................... Jim French
Wardrobe Supervisor.......................Lydia Frantz
Production Electrician/Asst. PM.........................
Eric Schoenberger
Costume Shop Manager/ Draper.......................
Mathew Gnagy
Booking............................................................
Margaret Selby, CAMI Spectrum LLC
Company Members
Jubal Battisti, Jon Bond, Nickemil Concepcion,
Gwynenn Taylor Jones, Jason Kittelberger,
Ana-Maria Lucaciu, Navarra Novy-Williams,
Oscar Ramos, Matthew Rich, Acacia Schachte,
Harumi Terayama, Vânia Doutel Vaz,
Manuel Vignoulle, Ebony Williams, Golan Yosef
Sunday, Again
Choreography, Jo Strømgren
Assistant to the Choreographer,
Alexandra Damiani
Lighting Design, Jim French and
Jo Strømgren
Costume Design, Junghyun Georgia Lee
Music, Utah (USA), Cloud Gate (Taiwan), Junior
“Jesu, meine Freude”
Motet No. 3 in E minor, BWV 225-230
by Johann Sebastian Bach, Maitrise of Theatre Oslo, National Academy of
Des Petits Chanteurs de Versailles, Theatre Stockholm, National College of
Concert Saint Julien,
Direction Jean-François Fremont
Program Notes
Sunday, Again is first of all a piece that tries to
reflect the diversity in Johann Sebastian Bach’s
music. Abstract movement patterns are woven
together in fugal ways, not unlike the baroque
way of assembling melodic phrases and orna-
mentations. Secondly, and on an associative
level, it thematically treats the domestic jungle
of luxury problems and gender frictions. As the
title suggests, there is always the irritating and
inevitable Sunday that forces couples to test
their coexistence abilities. Leisure time is not
good for certain types of relationships.
- Jo Strømgren
Jo Strømgren
Following studies with the National College
of Ballet and Dance in Oslo, Jo Strømgren
joined Carte Blanche Dance Company in
Bergen as a dancer and choreographer. In
his three years with the company, he gained
a professional base for his later work, mix-
ing his own dances with the varied repertory
of Mats Ek, Rui Horta, Jorma Uotinen, Jens
Östberg and Itzik Galili. After a major knee
injury, Jo became a full-time choreographer.
Artistic recognition came suddenly with
the hysterically frantic Schizo Stories, a
75-minute one-man show about neurosis
where his distinct body language and mix
of absurd humor and dark psychology stood
out clearly. Multi-talented, Jo’s work involves
music composition, set design, costume
design and lighting design in addition to
performance, choreography and theater
direction. He is also an emerging playwright
and screenwriter. In 2003, he made his de-
but as a feature film director with colleague
Runar Hodne, leading him to an interest in
dramaturgy and psychologically motivated
performance qualities.
Jo has received commissions from Ballet
de l’Opera National du Rhin (France),
Ballett Nürnberg (Germany), Iceland Dance
Company, The Norwegian National Ballet,
New Danish Dance Theatre, Norrdans
Dance Company (Sweden), Oslo Dance
Ensemble, Repertory Dance Theatre
Ballet de Conservatoire de Paris, Skånes
Danseteater (Sweden), National Academy
Ballet and Dance Oslo, National Academy of
Dance Stockholm, IT Dansa Barcelona, Den
Nationale Scene (Norway), The Norwegian
FRI OCT 8 | 8:00 PM
National Theatre, Torshovteatret (Norway),
Älvsborgsteatern (Sweden), Trøndelag
Teater (Norway), Junior Ballet Prague (Czech
Republic), Helsinki Dance Company (Finland),
Stadttheater Bern Ballett (Switzerland),
ABCDancecompany (Austria), Vienna State
Opera Ballet (Austria), The Royal Danish
Theatre, The Royal Danish Ballet and The
Royal Danish Opera.
The Fools
Choreography, Hofesh Shechter
Assistant to choreographer, Bruno Guillore
Lighting Design, Hofesh Shechter
Associate Lighting Designer, Jim French
Costume Design, Hofesh Shechter
Costume Design Assistant, Mathew Gnagy
Music, Hofesh Shechter
Additional Music, Giuseppe Domenico
Scarlatti: Sonata in B minor, K. 87:
Andante, performed by Ivo Pogorelich.
Sergio Mendes: “KABULA LE LE” 100%
Interest (Carlinhos Brown) © 1992
Warner-Tamerlane Publishing Corp. (BMI)
All rights reserved. Used by permission.
Hofesh Schechter
An Associate Artist of Sadler’s Wells and win-
ner of the Critic’s Circle National Dance Award
for Best Choreography (modern) in 2008,
Hofesh Shechter is one of the UK’s most
exciting artists.
As a member of the world-renowned Batsheva
Dance Company in Tel Aviv, he worked with
Artistic Director Ohad Naharin and choreog-
raphers including Wim Vandekeybus, Paul
Selwyn-Norton, Tero Saarinen and Inbal
Pinto. He studied drums and percussion and
participated in various European projects in-
volving dance, theatre and body percussion.
carolina performing arts 10/11 9
 In 2002, he joined the Jasmin Vardimon
Dance Company in the UK.
His choreographic debut Fragments, for which
he created the score, won first place in the
3rd Serge Diaghilev choreography competition.
In 2004, Hofesh was commissioned by The
Place Prize to create the sextet Cult, winner
of the Audience Choice Award. From 2004-
2006, he was Associate Artist at The Place
and was commissioned by the Robin Howard
Foundation to create his ever-popular Uprising.
These three works formed deGENERATION,
Hofesh’s first evening-length work.
In 2007, The Place, Southbank Centre and
Sadler’s Wells, London’s three major dance
venues, commissioned Hofesh to create In
your rooms, nominated for a South Bank
Show Award and winning the Critics Circle
Award for Best Choreography (modern).
Hofesh has been commissioned by Bare
Bones Dance Company, Edge, Verve, StopGAP
Dance Company, Scottish Dance Theatre,
CandoCo and Dance United. Internationally,
he has worked with Ballet CeDeCe (Portugal),
Hellenic Dance Company (Greece), Bern
Ballett (Switzerland), Skanes Dansteater
(Sweden) and Carte Blanche Dance Company
(Norway). In 2008, he formed the acclaimed
Hofesh Shechter Company.
Hofesh worked as choreographer at The
Royal Court Theatre for Motortown by Simon
Stephens (2006), The Arsonists (2007), the
National Theatre’s award-winning Saint Joan
(2007) and the hit dance sequence Maxxie’s
Dance for the opening of the second series
of Channel 4’s popular drama Skins. friends in the international ballet commu-
Hubbub
Choreography, Alexander Ekman
Assistant to Choreographer,
Alexandra Damiani his new play Hållplats and create new works
Lighting Design, Jim French
Costume Design, Alexander Ekman
Costume Design Assistant, Luke Simcock
Text, Spenser Theberge
Music, Alexander Ekman
Additional Music, “Amapola,” “Isle of Capri” Founded in 2003 by Nancy Laurie, Cedar Lake
and “Sibone (Instrumental)” performed Contemporary Ballet has distinguished itself
by Xavier Cugat from “La Cucaracha” through its exceptionally talented corps of
The Hits of Xavier Cugat,
2006 Prestige Elite
Chopin: Nocturnes, Op. 9-2. #2 In E flat by the world’s most sought-after emerging
performed by Peter Schmalfuss
Variation 8 & 1 by Johann Sebastian of Benoit-Swan Pouffer, Cedar Lake offers
Bach, performed by New European a wide-ranging spectrum of American and
Strings Chamber Orchestra
Program Note
Hubbub is a rhythmical group piece about
participation and criticism. We follow a crowd
www.carolinaper formingar ts.org
(919)843-3333
through their weekly performance ritual while
a commentator suggests the “right” answers
to the meaning of the piece.
- Alexander Ekman
Alexander Ekman
Swedish choreographer Alexander Ekman
is a hot commodity on the European dance
scene, known for his clever ideas, fast-paced
choreography and humor.
He joined the Royal Swedish Ballet at 16,
continuing his dance career with Nederlands
Dans Theater from 2002-2005 and joining
Sweden’s Cullberg Ballet in 2005. Now
choreographing for some of the most pres-
tigious dance companies in the world, his
breakthrough came in 2006 with Flockwork for
Nederlands Dans Theater 2 – he also created
music and scenography for the piece.
He has been commissioned by Cullberg
Ballet (Sweden), Nederlands Dans Theater
1 and 2, Gothenburg Ballet (Sweden), Ballet
de L’opéra du Rhin (France), Bern Ballet
(Switzerland), IT-Dansa (Spain), Iceland Dance
Company (Iceland), Ballet Junior de Genève
(Switzerland), Royal Swedish Ballet (Sweden)
and Stockholm 59° North (Sweden).
Mentioned by Ballet Tanz as a Choreographer
to Watch, he was nominated for the Griman
Awards in Iceland for Station Grey – Last
Stop. In 2005, he won the Critics’ Prize in
the Hannover choreographic competition
for The Swingle Sisters, which was added
to Cullberg Ballet’s repertory. He received
the prestigious Drottningholm Scholarship in
Sweden, and in 2008 he was asked to cre-
ate five dance installations for the Modern
Museum in Stockholm in collaboration with
the Cullberg Ballet. In the coming year he
will collaborate with video artist Mats Ek on
for Nederlands Dans Theater 2, Gothenburg
Ballet, Cullberg Ballet and Cedar Lake
Contemporary Ballet.
Cedar Lake Contemporary Ballet
fifteen dancers and its concurrent emphasis
on acquiring and commissioning new works
choreographers. Under the artistic direction
international repertory, including works by
Hofesh Shechter, Nicolo Fonte, Crystal Pite,
Jacopo Godani, Stijn Celis, Angelin Preljocaj,
Ohad Naharin, Didy Veldman, Jo Strømgren,
Luca Veggetti and Sidi Larbi Cherkaoui.
Through their daring, athletic movement and
integration of ballet into contemporary and
popular forms, the dancers of Cedar Lake
take audiences on a choreographic journey
that explores the infinite possibilities of
movement and multimedia. Upcoming works
from 2010-11 include creations by Crystal
Pite and Hofesh Shechter.
Benoit-Swan Pouffer,
Artistic Director
Benoit-Swan Pouffer joined Cedar Lake
as Artistic Director in 2005 following an
extensive career as a dancer, teacher and
choreographer. Born and raised in Paris,
his career began with study at the presti-
gious Conservatoire National Superieur de
Musique et de Danse where he performed
works by such renowned French choreogra-
phers as Claude Brumachon, Daniel Larrieu
and Angelin Preljocaj. In 1993, he took
first place in the Benetton European Dance
Competition. Pouffer’s distinguished career
as a professional dancer includes a seven-
year tenure with Alvin Ailey American Dance
Theater, seasons with Philadanco, Donald
Byrd/The Group and Complexions, outreach
programs in South Africa and master classes
throughout Europe.
Pouffer is credited with an astute and discern-
ing eye for talented dancers, a vision toward
artistic excellence and the viewpoint that
performers with skilled technique united in
works mingling various forms of dance can
breathe new life into the art form. Through
an informed network of colleagues and
nity, Pouffer eagerly searches out innovative
choreographers around the world to invite
to Cedar Lake. The New York Times recently
stated, “Luckily Benoit-Swan Pouffer seems
to have taken it on himself to introduce
audiences to a new generation of European
choreographers.” His role as curator of one of
the most ambitious world-class repertoires in
America today furthers Cedar Lake’s mission
to provide choreographers a comprehensive
environment for creation and presentation.
In 2005, Pouffer introduced and choreo-
graphed the first of his series of installa-
tion per formances. Critically acclaimed
and representing a new, less formalized
approach to dance per formance, Pouffer
merges the audience with the dancer to
become a collaborator in the per formance.
His original works for Cedar Lake include
Seed, Between Here and Now, Hammer,
Vastav and Glassy Essence.
on cedar lake seth bordner

Believe it or not, I
volunteered to write
this. In retrospect, it
was an odd choice.
After all, what do I
know about dance?
I’m a philosopher, not
a dancer. My wife is
the dancer. Why isn’t
she writing this preview?
Experts in their elements can be the wrong
people to ask when the questions are simple:
Is it good? Will I like it? You’re liable to get
more than you bargain for: a dissertation on
moral particularism, say, or a lecture on the
ethnochoreology of American folk dancing.
Ask a philosopher about philosophy, you’re
liable to get a subtle, detailed, esoteric
response, as intelligible and interesting
to the woman on the street as an organic
chemistry textbook. Ask a dancer about
dance, you might get much the same thing.
She will talk about the articulation of a
foot, the groundedness of the movement,
the blending of different choreographic
elements, things about which most laypeople
haven’t the faintest ideas. No, sometimes
it’s better to ask a layperson.
So, will you like Cedar Lake Contemporary
Ballet? No – you will love it.
Few companies can command the stage
as Cedar Lake can, and in my experience,
none can match their versatility. The label
of a contemporary ballet troupe can be
misleading to those of us (like me) for whom
the word ballet conjures up only images
of tutus and toe shoes. The company’s
repertoire is as flexible as the dancers
themselves. Performing a collection of
pieces by Ohad Naharin last summer, Cedar
Lake hit what seemed like every note on the
choreographic keyboard, even dancing the
rumba with reluctant audience members
following a rude little solo danced on stilts.
I could go on and on, but simply put, it was,
and still is, the best dance performance I
have ever seen.
Whatever they bring to Memorial Hall’s stage,
rest assured it will be danced with inimitable
grace and unmatched beauty. Cedar Lake
must be seen to be believed, and what is
most unbelievable about them is their ability to
make the unorthodox and incongruent seem as
natural and normal as walking and breathing.
Or so says this decidedly dance-illiterate
philosopher. But if you don’t believe me, just
ask my wife.
Seth Bordner is a doctoral candidate in philosophy
at The University of North Carolina at Chapel Hill and
a graduate fellow of the Parr Center for Ethics.

KidZNotes Ad
1/2 pg

carolina performing arts 10/11 11

 world music world
“One of the most thrilling
live performers around.”
- Rolling Stone

Photo courtesy of Opus 3 Artists

Hugh Masekela
Monday, October 11 at 7:30 PM
world music

voices of dissent

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(919)843-3333
d music
Hugh Masekela
Legendary South African trumpeter Hugh
Masekela is an innovator in the world music
MON OCT 11 | 7:30 PM

and jazz scene and is active as a performer,

composer, producer and activist. Best known
for his integral role in Paul Simon’s tour behind
the classic album Graceland, this iconic art-
ist’s Grammy Award-winning hit “Grazing in the
Grass” sold over 4 million copies and made
him an international star. He has collaborated
with numerous artists in the USA, Africa and
Europe, including Miriam Makeba, Dizzy
Gillespie, Harry Belafonte and Herb Albert.
He co-created the Broadway smash musical
Sarafina, introducing the sounds and passion
of South African music to theater audiences
around the world, and renowned choreogra-
pher Alvin Ailey chose a piece by Masekela to
create a work for the world-famous Alvin Ailey
American Dance Theater.
Masekela’s work as an activist raised in-
ternational awareness of the South African
government’s restrictive apartheid policies.
In the 1980s, his hit song “Bring Him Back
Home” became an anthem for the Free
Nelson Mandela movement.
Articulate and brilliantly musical in a number
of genres, Hugh Masekela has been a defin-
ing force in world music and the struggle for
human rights in Africa and around the world.

carolina performing arts 10/11 13

 classical
classical ensembles

“Gripping...”
- The New York Times

Credit: Joachim Ladefoged

Mariinsky Orchestra
Valery Gergiev, music director and conductor
Wednesday & Thursday, October 13 & 14 at 8 PM
classical ensembles

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

White Nights Foundation of America is the North American sponsor.

VTB Bank, Sberbank, Yoko Ceschina and Gazprom are the Principal Partners of the Mariinsky Theatre.

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ensembles
october 13 Program
Symphony No. 4
WED & THURs, OCT 13 & 14 | 8:00 PM

Mahler
October 13 Program Notes
by Aaron Grad
Anastasia Kalagina, soprano (1860-1911)
Gustav Mahler
Bedächtig, nicht eilen (Moderately, not rushed)
In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste) Born July 7, 1860 in Kalischt, Bohemia
Ruhevoll, poco adagio (Peacefully, somewhat slowly) Died May 18, 1911 in Vienna
Sehr behaglich (Very comfortably)
Symphony No. 4 [1899-1900]
INTERMISSION Mahler composed most of the Fourth
Symphony at his lakeside cottage in the sum-
Symphony No. 1 (“Titan”) Mahler mers of 1899 and 1900, during his time off
Langsam, schleppend (Slowly, dragging) from directing the Vienna Court Opera. Like
Kraftig bewgt, doch nicht zu schnell (Moving strongly, but not too quickly) the two preceding symphonies, the Fourth
Feierlich und gemessen, ohne zu schleppen drew upon his songs based on Des Knaben
(Solemnly and measured, without dragging) Wunderhorn (The Youth’s Magic Horn), a col-
Stuermisch bewegt (Stormily agitated) lection of folk poetry. The Fourth Symphony,
however, had a different scope from its
october 14 Program expansive predecessors. In 1901, Mahler
Symphony No. 6 (“Tragic”) Mahler wrote, “I only wanted to write a symphonic
Allegro energico, ma non troppo. Heftig, aber markig. (Vehement, but vigorous) humoresque and out of it came a symphony
Andante moderato of the normal dimensions – whereas, earlier,
Scherzo: Wuchtig (Powerful) what I imagined would be a symphony turned
Finale: Sostenuto – Allegro moderato – Allegro energico out, in my Second and Third, to be three
times the normal length!”
Beyond the relative brevity and reduced
instrumentation (forgoing trombones and
tuba), the musical material of the Fourth
Symphony conveys charm and civility befit-
ting a “humoresque.” The opening sonority
of flutes and sleigh-bells holds the promise
of strange and exotic directions, but elegant
melodies and crisp accompaniment soon es-
tablish an unpretentious calm, a throwback
to Haydn’s genteel style from 18th-century
Vienna. The alluring possibility of that first
sleigh-bell passage returns, and the move-
ment ventures into vivid escapades.
The second-movement Scherzo retains the
symphony’s innocent pose but transports it
to a spookier domain. A solo violin, tuned up
a step, plays the part of Freund Hein, a fiddle-
playing folk character representing death: a
good-humored grim reaper. The relaxed lilt of
the contrasting trio assuages any fear raised
by this ghoulish vision.
The third movement, marked “peacefully,” is
the tender heart of this symphony, and one of
the most serene passages in all of Mahler’s
music. In a patient series of variations
unfolding over approximately 20 minutes,
a theme of child-like simplicity alternates
with darker and more nuanced statements.
Mahler was wise not to follow such an af-
fecting meditation with a grand apotheosis,
or even a jaunty romp in the manner of
Haydn. He turned instead to a Wunderhorn

carolina performing arts 10/11 15

song from 1892: The Heavenly Life, a child’s
perspective of saints preparing a feast. The
text is full of wonderment and joy, albeit with
an ironic bite, as when describing the lamb’s
slaughter. Pastoral verses play against brittle
flashbacks of the first movement’s wilder
strains, until the quiet and unclouded major-
key conclusion releases this effervescent
symphony back into the realm of reverie.
Copyright © 2010 Aaron Grad
Das himmlische Leben
From Des Knaben Wunderhorn
Edited by A. von Arnim and C. Brentano
Wir genießen die himmlischen Freuden,
Drum tun wir das Irdische meiden,
Kein weltlich Getümmel
Hört man nicht im Himmel!
Lebt alles in sanftester Ruh’!
Wir führen ein englisches Leben!
Sind dennoch ganz lustig daneben!
Wir tanzen und springen,
Wir hüpfen und singen!
Sankt Peter im Himmel sieht zu!
Johannes das Lämmlein auslasset,
Der Metzger Herodes drauf passet!
Wir führen ein geduldig’s,
Unschuldig’s, geduldig’s,
Ein liebliches Lämmlein zu Tod!
Sankt Lucas den Ochsen tät schlachten
Ohn’ einig’s Bedenken und Achten,
Der Wein kost’ kein Heller
Im himmlischen Keller,
Die Englein, die backen das Brot.
Gut’ Kräuter von allerhand Arten,
Die wachsen im himmlischen Garten!
Gut’ Spargel, Fisolen
Und was wir nur wollen!
Ganze Schüsseln voll sind uns bereit!
Gut Äpfel, gut’ Birn’ und gut’ Trauben!
Die Gärtner, die alles erlauben!
Willst Rehbock, willst Hasen,
Auf offener Straßen
Sie laufen herbei!
Sollt’ ein Fasttag etwa kommen,
Alle Fische gleich mit Freuden
angeschwommen!
Dort läuft schon Sankt Peter
Mit Netz und mit Köder
Zum himmlischen Weiher hinein.
Sankt Martha die Köchin muß sein.
Kein’ Musik ist ja nicht auf Erden,
Die uns’rer verglichen kann werden.
Elftausend Jungfrauen
Zu tanzen sich trauen!
Sankt Ursula selbst dazu lacht!
Cäcilia mit ihren Verwandten
Sind treffliche Hofmusikanten!
Die englischen Stimmen
Ermuntern die Sinnen,
Daß alles für Freuden erwacht.
Credit: Joost Van Velsen
translation
The Heavenly Life Symphony No. 1 (“Titan”)
[1884-88, revised 1894]
From The Youth’s Magic Horn
Translated by Emily Ezust, While Mahler labored over his First Symphony,
courtesy of www.lieder.net his conducting career soared from a provin-
cial podium to the top theaters of Europe.
We enjoy the heavenly pleasures He began the work in 1884 in Kassel, where
And avoid the earthly things. he fell for Johanna Richter, a soprano in the
No worldly tumult choir he led. He wrote her love poems, some
Does one hear in Heaven! of which he set to music in the 1883-85
Everything lives in the gentlest peace! song cycle Lieder eines fahrenden Gesellen,
We lead an angelic life! including melodies he eventually reused
Nevertheless we are very merry: in the First Symphony. He also composed
We dance and leap, incidental music for the play Der Trompeter
Hop and sing! von Säckingen in 1884, a selection of which
Meanwhile, Saint Peter in the sky looks on. appeared for a time in the symphony as the
Saint John has let his little lamb go Blumine movement. The piece remained
To the butcher Herod. unfinished during Mahler’s brief tenure in
We lead a patient, Prague, and progressed as far as a piano
Innocent, patient, score by early 1888, when he resigned from
A dear little lamb to death! an even more prominent position in Leipzig.
Saint Luke slaughters oxen The 28-year-old went on to head the Royal
Without giving it thought or attention. Hungarian Opera in Budapest, and before
Wine costs not a penny year’s end he had completed the orchestra-
In Heaven’s cellar; tion of his long-gestating symphonic debut.
And angels bake the bread. Mahler conducted the first performance of
Good vegetables of all sorts the “Symphonic Poem in Two Parts” (as he
Grow in Heaven’s garden! initially titled it) in Budapest in November of
Good asparagus, beans 1889. Part One consisted of three move-
And whatever we wish! ments, including the Blumine he inserted
Full bowls are ready for us! after the first movement, and Part Two con-
Good apples, good pears and good grapes! tained the final two movements. The work
The gardener permits us everything! confounded critics, especially the second
Would you like roebuck, would you like hare? part with its mix of grotesque parody and raw
In the very streets power, and the symphony returned temporar-
They run by! ily to a dormant state.
Should a fast-day arrive, Mahler left Budapest for Hamburg in 1891,
All the fish swim up to us with joy! and he revived his symphony for a second
Over there, Saint Peter is running already per formance there in 1893. He expanded
With his net and bait the scoring to three of each woodwind and
To the heavenly pond. re-titled the work Titan, a Tone Poem in
Saint Martha must be the cook! Symphony Form. Richard Strauss secured
a per formance the following year in Weimar,
No music on earth and the 1894 edits brought the symphony
Can be compared to ours. nearly to its final form, with the woodwind
Eleven thousand maidens complement expanded yet again and with
Dare to dance! the Blumine removed. Mahler made slight
Even Saint Ursula herself is laughing! adjustments for later per formances, and
Cecilia and all her relatives finally published the work as Symphony No.
Are splendid court musicians! 1 in 1899. By that point he had removed
The angelic voices the Titan title, but it continues to stick as
Rouse the senses a nickname.
So that everything awakens with joy.
The symphony begins with the mystical
resonance of the note “A” spread across the
full range of the strings, joined by a slow mo-
tive of descending intervals. Mahler’s 1893
program described this movement as “the
awakening of Nature from the long sleep of
winter,” an association supported by pasto-
ral birdcalls and distant fanfares, as if from
a hunting party. Besides the naturalistic tone
painting, Mahler’s opening pays homage to
Beethoven’s Ninth Symphony, which likewise
begins with a sustained “A” and motives
based on similar descending intervals.
The second movement is a Ländler, an
exuberant peasant’s dance in triple meter,
music “with full sails,” as Mahler charac-
terized it in his program note. An emotion-
ally ambiguous Funeral March follows, with a
minor-key rendition of the round-tune Bruder
Martin (also known as Frère Jacques) led by
a solo bass. Mahler described the inspiration
as coming from “The Huntsman’s Funeral,
from an old children’s book: the animals of
the forest accompany the dead huntsman’s
bier to the grave; hares escort the little
troop, in front of them marches a group of
Bohemian musicians, accompanied by play-
ing cats, toads, crows etc. Stags, deer, foxes
and other four-legged and feathered animals
follow the procession in comic attitudes. In
this passage the piece is intended to have
now an ironically merry, now a mysteriously
brooding mood.”
Mahler meant the Finale to enter “like the
suddenly erupting cry of a heart wounded to
its depths.” The symphony that began as a
continuation of Beethoven’s legacy ends in
the spirit of Berlioz’ Symphonie fantastique,
with astounding orchestral colorations
juxtaposed with music of heart-wrenching
beauty. Climaxes of seven horns and four
trumpets pushed to a fortississimo (fff)
dynamic generate incredible force of sound,
while thematic recall from the first move-
ment punctuates the symphony’s emotional
journey. The cumulative effect is more than
a tone poem or “programmatic” symphony; it
is a wordless musical drama, the first taste
of Mahler’s new symphonic ideal that would
push Romantic expression to its outer limits.
Copyright © 2010 Aaron Grad
October 14 Program Notes
by Aaron Grad
Gustav Mahler
Born July 7, 1860 in Kalischt, Bohemia
Died May 18, 1911 in Vienna
Symphony No. 6 (“Tragic”) [1903-04]
In 1902, Mahler married Alma Schindler, a
Viennese beauty 20 years his junior. They
had their first daughter a few months before
he began his Sixth Symphony in 1903,
and he finished the work after his second
daughter was born in 1904. As had become
his routine, Mahler used his summer breaks
from conducting the Vienna Court Opera to
compose, heading out each morning to his
one-room studio in the forest. Despite the
apparent joys of those working holidays with
his new family, he wrote some of his darkest
music to date.
Mahler conducted the premiere of the Sixth
Symphony in Essen on May 27, 1906, an
event that apparently left the audience baffled.
(Mahler wrote privately, “My Sixth seems to
be yet another hard nut, one that our critics’
feeble little teeth cannot crack.”) He added
the “Tragic” nickname for the Vienna debut in
1907, but then did not use it for subsequent
performances or publications.
The “Tragic” label can provide a useful
point of entr y to the Sixth Symphony, but
it does not apply to all 80 minutes of this
subtle and varied music. As we can expect
from Mahler, the work wears its heart on
its sleeve, yet it also maintains an uncan-
nily balanced and elegant design. In terms
of structure, it is the most Classical of
Mahler’s symphonies: There are four move-
ments, each with tempos and functions
that square with the precedents of Haydn
and Beethoven. It is also more abstract
than earlier works, moving away from the
heroic programs, vocalists, song quota-
tions and rustic parodies of the Second,
Third and Fourth Symphonies. Even the
Fifth Symphony, which began Mahler’s shift
toward “pure” music, is self-consciously
demonstrative by comparison, with its
opening Funeral March and redemptive rise
to a major-key conclusion. The telling detail
of the Sixth Symphony is not its tragedy
per se, but rather its steadfast fatalism. It
stews in raw, authentic emotion, demanding
fortitude from its listeners (and per formers)
and rewarding the brave travelers with an
immersive experience like nothing else in
music.
The opening movement launches immedi-
ately into tense and stormy A-minor material
that marches for ward insistently, prodded
by pulsing bass and thumping percussion.
A lush and lyrical theme, supposedly rep-
resenting Alma, provides maximal contrast.
In true Classical fashion, and uncharacter-
istically for Mahler, the opening exposition
section repeats verbatim. The most color ful
aspects of the movement emerge in bril-
liant touches of orchestration: The tinkling
celestas, clanking cowbells and jangling
triangles complement the deft handling of the
oversized ensemble. The return of the lyrical
carolina performing arts 09/10 17
“Alma” theme and other triumphant, major-
key motives bring the movement to a spirited
conclusion, the tragedy temporarily dispelled.
There is some controversy about which move-
ment comes next. Mahler submitted the score
for publication with the Scherzo second, but
in preparing the premiere he swapped the
Andante moderato into the second position. In
the version that matches Mahler’s lasting pref-
erence, the Andante prolongs the ambiguity of
the symphony’s ultimate direction, continuing
the first movement’s slippery distinctions
between major and minor and basking in a
gentle cascade of nostalgic melodies.
The Scherzo jars us back to the fateful march
toward tragedy, stomping forward like the be-
ginning of the symphony. The vivid shrieks and
pounding percussion have real terror behind
them, but there is also a mannered, deliberate
quality that maintains an edge of emotional
separation – for now. That winking sensibility
especially comes to the fore in the contrasting
trio sections. Despite its diabolical moments,
this Scherzo adheres to its Classical origins
as a joking movement.
Mahler once said, “The symphony is the world!
The symphony must embrace everything.” The
finale of the Sixth Symphony fulfills that creed,
its vast expanses filled with myriad swirling
emotions, especially tragedy. The lynchpins
of the movement are the hammer strikes,
meant to sound with a dull thud like the fall
of the axe. Alma later wrote that the three
fateful blows of the finale foreshadowed the
tragedies of 1907: the death of one of their
daughters, the diagnosis of a life-threatening
heart condition, and Mahler’s falling out from
his dream job in Vienna. Mahler himself later
deleted the third strike of the hammer, as if
unable to bear the mortal finality of that last
blow, but the symphony’s conclusion still
maintains its chilling grip to the end.
Copyright © 2010 Aaron Grad
The Mariinsky Orchestra
The Orchestra of the Mariinsky Theatre en-
joys a long and distinguished history as one
of the oldest musical institutions in Russia.
Founded in the 18th century during the
reign of Peter the Great and housed in St.
Petersburg’s famed Mariinsky Theatre since
1860, the Orchestra entered its golden age
in the second half of the 19th century under
the musical direction of Eduard Napravnik,
whose leadership from 1863-1916 secured
its reputation as one of the finest in Europe.
Numerous internationally famed musicians
have conducted the Orchestra, including Hans
von Bülow, Felix Mottl, Felix Weingartner,
Alexander von Zemlinsky, Otto Nikisch, Willem
Mengelberg, Otto Klemperer, Bruno Walter,
Erich Kleiber, Hector Berlioz, Richard Wagner,
Gustav Mahler and Arnold Schoenberg.
Renamed the Kirov during the Soviet era,
the Orchestra continued to maintain its high
artistic standards under the leadership of
Yevgeny Mravinsky and Yuri Temirkanov. The
leadership of Valery Gergiev has enabled the
Theatre to forge important relationships with
the world’s greatest opera houses, including
the Metropolitan Opera, the Royal Opera
House, Covent Garden, the San Francisco
Opera, the Théâtre du Châtelet in Paris, the
Salzburg Festival and La Scala in Milan.
Since 1992, the orchestra has made 15
tours of North America, including a 2006
celebration of the complete Shostakovich
symphonies, a Cycle of Stage Works of
Prokofiev in 2008, and major works of Berlioz
in 2010. A Centennial Mahler Cycle begins
in Carnegie Hall in October 2010. 2009-10
releases of the new Mariinsky Label are:
Shostakovich’s The Nose and Symphonies
Nos. 1 & 15, Rachmaninov’s Piano Concerto
No. 3 and Rhapsody on a Theme of Paganini,
Tchaikovsky’s 1812, Shchedrin’s The
Enchanted Wanderer, and Stravinsky’s Les
Noces and Oedipus Rex.
2006 marked the grand opening of the
Orchestra’s Mariinsky Theatre Concert Hall
and late 2011 will mark the opening of
Mariinsky III, a new theatre placed alongside
the historic Mariinsky Theatre.
Valery Gergiev
Valery Gergiev’s inspired leadership as
Artistic and General Director of the Mariinsky
Theatre since 1988 has taken Mariinsky
ensembles to 45 countries and brought uni-
versal acclaim to this legendary institution,
now in its 227th season. In St. Petersburg,
his leadership has resulted in the superb
new Mariinsky Concert Hall, which opened in
2006, and the Mariinsky Label, launched in
2009. The new Mariinsky Theatre is sched-
uled to open in 2012, after which the original
Mariinsky Theatre (currently celebrating its
150th anniversary) will be renovated to 21st
century standards.
The Mariinsky Label releases in the first
year included Shostakovich’s The Nose and
Symphonies Nos. 1 & 15; a Tchaikovsky disc
of short pieces; Rodion Shchedrin’s The
Enchanted Wanderer; Rachmaninov’s Piano
Concerto No. 3 and Paganini Variations; and
Stravinsky’s Les Noces and Oedipus Rex.
The label’s first two recordings received five
Grammy nominations. In fall 2010, the label
will release Wagner’s Parsifal and DVDs of
Tchaikovsky’s Symphonies Nos. 4, 5 and 6.
Presently Principal Conductor of the
London Symphony Orchestra and The World
Orchestra of Peace, Valery Gergiev is also
Founder and Artistic Director of the Stars of
the White Nights Festival and New Horizons
Festival in St. Petersburg, the Moscow Easter
Festival, the Gergiev Rotterdam Festival, the
Mikkeli International Festival and the Red
Sea Festival in Eilat, Israel.
Maestro Gergiev is the recipient of a Grammy
Award, the Dmitri Shostakovich Award,
Golden Mask Award, People’s Artist of
Russia Award, the World Economic Forum’s
Crystal Award, Sweden’s Polar Music Prize,
Netherlands’s Knight of the Order of the
Dutch Lion, Japan’s Order of the Rising Sun,
Valencia’s Silver Medal, the Herbert von
Karajan prize and France’s Royal Order of the
Legion of Honor.
Now recording for the Mariinsky and LSO
Live Labels, he has recorded extensively for
Decca (Universal Classics), and appears on
the Philips and Deutsche Grammophon labels.
Anastasia Kalagina, soprano
Anastasia Kalagina graduated from the
St. Petersburg State Rimsky-Korsakov
Conservatoire. She joined the Mariinsky
Academy of Young Singers in 1998 and has
been a Mariinsky Theatre soloist since 2007,
when she appeared as the Snow Maiden at
Carnegie Hall in New York.
Hailed by critics as a “crystalline soprano,” she
was awarded the Montblanc New Voices prize
in 2008 and performed to tremendous acclaim
in the Russian premiere of Henri Dutilleux’s
Correspondances. She was a prizewinner at
the International Vocalists’ Competition in
China in 2005 and was awarded first prize
at the V International Rimsky-Korsakov Young
Opera Singers’ Competition in St. Petersburg
in 2002. She received the Moniuszko Prize at
the IV International Stanislaw Moniuszko Vocal
Competition in Warsaw in 2001. Anastasia
Kalagina has toured throughout Europe, USA,
Israel and Japan.
COLUMBIA ARTISTS MANAGEMENT LLC
Tour Direction: R. DOUGLAS SHELDON
1790 Broadway, New York, NY 10019
www.cami.com
on Maestro Valery Gergiev
In the world of music,
Valery Gergiev is
much more than a
great conductor. He is
also an ambassador
extraordinaire. Since
the mid ’90s he has
been the international
face of the Mariinsky
Theatre and the force of his leadership
played an important role in steering this
important cultural institution through a very
difficult economic period in Russia.
Under his tutelage, the Mariinsky Theatre
was not only spared from potential decline
but was instead lifted to greater international
prominence. Maestro Gergiev has also been
an important advocate for 20th-century
Russian orchestral music and Russian opera,
and is well known for developing world-class
singers – the story of Anna Netrebko’s rise
from cleaning lady at the Mariinsky Theatre to
world-famous soprano has become legendary
in the world of opera. As a result of seeing
live performances at the Mariinsky Theatre
and through their various DVD releases,
Maestro Gergiev and the Mariinsky Theatre
have served as my own gateway into the
world of Russian opera. Maestro Gergiev has
also been willing to devote a fair amount of
his time in the building of bridges between
young people and the world of classical
music. He continuously reaches out to
young audiences by staging free concerts,
distributing complimentary tickets and giving
talks to young audiences.
Two years ago when Maestro Gergiev and
the Mariinsky Orchestra were at UNC-Chapel
Hill, I was fortunate enough to experience his
well-known commitment to reaching out to
the young when he was gracious enough to
entertain a group of students in the Carolina
Scholars program, for which I am the faculty
coordinator. Maestro Gergiev invited us to
watch him guide his Mariinsky Orchestra
through a rehearsal, and then he sat down
with us for a one-hour chat. Afterwards,
I talked with several of my students who
were eager to share their impressions. They
all noted that he exuded leadership and
commented on his charisma and confidence.
However, some were also very impressed
by the loyalty and commitment he exhibited
towards his artists, obvious in the way he
Greg gangi
described their individual accomplishments.
And I still remember the praise he heaped on
a talented young bassoonist.
After this experience, my students were
therefore not surprised by the fact that one
of the many things that Maestro Gergiev is
famous for is his ability to recognize and
nurture young talent. One of the goals I
have for our merit scholars is to help them
broaden their tastes and horizons. I like to
expose students to a wide range of visual
and performing arts, and I hope that some of
my students will become future subscribers
and patrons of the arts. The opportunity for
them to experience not only the music of a
world-class artist such as Maestro Gergiev,
but to also connect off the stage and
experience who he is as a person, can only
further deepen their understanding of the
arts in the world.
Greg Gangi is a Research Assistant Professor for
the Institute for the Environment at The University of
North Carolina at Chapel Hill. He also serves as the
Associate Director for Education of the Institute for
the Environment.
carolina performing arts 10/11 19
 world music world m “The queen of
Caribbean vocalists.”
- Los Angeles Times

Photo courtesy of International Music Network

Omara Portuondo
80th Birthday Concert
Friday, November 5 at 8 PM

Swami Jr: guitar and musical director

world music

Harold López Nussa: piano

Felipe Cabrera: double bass
Andrés Coayo: percussion
Rodney Yllarza Barreto: percussion

www.carolinaper formingar ts.org

(919)843-3333
music
Omara Portuondo
Cuban Grammy-winner Omara Portuondo’s
career spans 60 years. An original member
of the Cuarteto d’Aida – one of the greatest
groups in the history of Cuban music – she
has appeared with Buena Vista Social
Club, Orquesta Aragón, Chucho Valdés, Los
Van Van, Nat King Cole, Chaka Khan and
Marianne Faithfull, among many others.
With Orquesta Aragón, one of Cuba’s most
important orchestras, she traveled the world
and recorded several albums. Her role in the
Buena Vista Social Club film and recordings
catapulted her to fame, and she began travel-
ing and recording with a star-studded group
that included great names in Cuban music
such as Rubén González, Orlando “Cachaíto”
on Omara Portuondo
Most of us were
first introduced to
Omara Portuondo in
the 1999 film Buena
Vista Social Club.
For me, her duet
with Ibrahim Ferrer
singing “Silencio” was
undoubtedly the most
moving part of the film. A beautiful bolero by
the legendary Puerto Rican composer Rafael
Hernández, the lyrics tell of a garden’s delicate
flowers that are vulnerable to an onlooker’s
sadness, sorrow and pain. If they knew what I
am suffering/for my pain they would cry too…
I don’t want them to know my pain/because
if they saw me crying they would die. In the
past the bolero genre was often criticized
for being overly melodramatic and musically
kitschy, characteristics associated with the
lower classes who were initially its intended
audiences. No such associations are made
today. Instead the bolero is the most direct
musical and emotional path to the past
brought to life for all, young and old, Spanish
speakers and non-Spanish speakers. It is
harmonically rich and melodically fluid. But
most of all its performance demands an
incredible investment of personal emotion
and conviction. With cautiously raised
eyebrows, head slightly tilting in one direction
FRI NOV 5 | 8:00 PM
López and Manuel “Guajiro” Mirabal.
Following the third Buena Vista Social Club
recording in 2000, she toured with Rubén
González and Ibrahim Ferrer.
2004’s Flor de amor, her second solo
album for World Circuit, was nominated for
a Grammy in the Best Traditional Tropical
Record category and won the Billboard Latin
Music Awards Tropical Record of the Year
award in the female category. In 2007, she
joined forces with Brazilian music legend
Maria Bethânia, and in 2009 she won a Latin
Grammy for her album Gracias, featuring
Roberto Fonseca, Swami Jr., Andrés Coayo,
Avishai Cohen, Trilok Gurtu, Chucho Valdés,
Richard Bona and Chico Buarque.
David F. García
then in the other, and hand delicately
stretched out toward her audience, Omara
brought “Silencio” to life, ending with a bow
and tears flowing from this flower’s eyes,
only to be wiped from her cheeks by Ibrahim.
Omara has mastered these qualities over
a long musical career. And now she offers
us her latest CD Gracias, featuring bolero,
bossa nova and son, genres that she has
been interpreting for over sixty years. In my
early research, I studied the dance music of
Arsenio Rodríguez, another glory of Cuban
music, and had only come across the name
Omara Portuondo and the fílin (feeling)
movement that she helped popularize in the
1940s and 1950s. Since then, I have had the
time to truly appreciate the sophistication
and artistry of filin’s harmonic and melodic
soundscape. Omara and her contemporaries
drew heavily from jazz and bossa nova, yet
the music was and remains a uniquely
Cuban manifestation rooted in trova (Cuban
traditional song) and the Cuban experience.
As is clearly conveyed in the name fílin, the
thread that has run through Omara’s music
throughout her career is pure and honest
emotion that can only be fully realized with
an audience willing and ready to be moved.
David F. García is an Assistant Professor in the
Department of Music at The University of North
Carolina at Chapel Hill.
carolina performing arts 10/11 21
 classical ensembles
classical
“…extraordinary
young players...”
- Los Angeles Times

Credit: Sasha Gusov/ECM Records

Kremerata Baltica
classical ensembles

with Gidon Kremer, artistic leader and soloist

Monday, November 8 at 7:30 PM

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.

www.carolinaper formingar ts.org

(919)843-3333
ensembles MON NOV 8 | 7:30 PM

Program KREMERATA BALTICA

After Glenn Gould for string orchestra (2010) Stevan Kovacs Tickmayer Gidon Kremer,
Dedicated to Gidon Kremer and Kremerata Baltica (b. 1963) artistic leader and soloist
Founded in 1997 by the renowned violinist
Gidon Kremer, the Grammy Award-winning
Silent Prayer for violin, violoncello and strings (2007) Giya Kancheli chamber orchestra Kremerata Baltica is
Dedicated to Mstislav Rostropovich and Gidon Kremer (b. 1935) already one of the most prominent inter-
national ensembles. Originally a “birthday
INTERMISSION present to myself” to celebrate his 50
years of life in 1997, Gidon Kremer imme-
String Quartet No. 14 in C-sharp minor, Op. 131 Beethoven
diately envisaged the potential behind the
Version for string orchestra by Gidon Kremer and Victor Kissine (1770-1827)
27-member ensemble of young musicians

from the Baltic States of Estonia, Latvia
I. Adagio ma non troppo e molto espressivo
and Lithuania as a medium to share his rich
II. Allegro molto vivace
ar tistic experience with the new generation
III. Allegro moderato
IV. Andante ma non troppo e molto cantabile – Più mosso – Andante moderato e and to promote and inspire the musical and
lusinghiero – Adagio – Allegretto – Adagio, ma non troppo e semplice – Allegretto cultural life of the Baltics.
V. Presto Kremerata Baltica performs about 60 con-
VI. Adagio quasi un poco andante certs annually in the greatest halls and most
VII. Allegro renowned music festivals throughout Europe,
Asia and the Americas. They also shine in

carolina performing arts 10/11 23


Credit: Sasha Gusov/ECM Records
www.carolinaper formingar ts.org
(919)843-3333
ingeniously programmed Kremerata Musica
chamber music performances with small- to
medium-sized formations comprised of mem-
bers of the group. The musical scene of the
Baltics is of great importance to Kremerata
Baltica. Supported by a joint program of the
Ministries of Culture of all three countries,
numerous performances are held every year
in Estonia, Latvia and Lithuania.
While most concer ts are led by and
per formed with Gidon Kremer, Kremerata
Baltica has appeared with celebrated
conductors and soloists such as Vladimir
Ashkenazy, Christoph Eschenbach, Kent
Nagano, Sir Simon Rattle, Esa-Pekka
Salonen, Jessye Norman, Mischa Maisky,
Oleg Maisenberg, David Geringas, Heinrich
Schiff and Heinz Holliger.
With an unusually extensive and versatile
reper toire, Kremerata Baltica gives much
impor tance to contemporar y music, regu-
larly per forming music by living Eastern
European composers and commissioning
new works by Pär t, Kancheli, Vasks,
Desyatnikov and Raskatov.
Kremerata Baltica has made seven record-
ings with the Nonesuch label, receiving
a 2002 Classical Music Best Small
Ensemble Per formance Grammy Award
for After Mozar t. Their first recording with
Deutsche Grammophon, Kremerland,
featuring contemporar y works dedicated
to and premiered by the ensemble, was
released in 2004.
Gidon Kremer
One of the most original and compelling art-
ists of his generation, Gidon Kremer has ap-
peared on the major concert stages with the
most celebrated orchestras of Europe and
America and has collaborated with today’s
foremost conductors, including Leonard
Bernstein, Herbert von Karajan, Christoph
Eschenbach, Nikolaus Harnoncourt, Lorin
Maazel, Riccardo Muti, Zubin Mehta, James
Levine, Valery Gergiev, Claudio Abbado and
Sir Neville Marriner.
His unusually extensive repertoire encom-
passes the standard classical and romantic
violin works as well as music by 20th-
century masters such as Henze, Berg and
Stockhausen. He has championed the works
of living Russian and Eastern European com-
posers and has performed many important
new compositions, several of them dedicated
to him. He is associated with such diverse
composers as Alfred Schnittke, Arvo Pärt,
Giya Kancheli, Sofia Gubaidulina, Valentin
Silvestrov, Luigi Nono, Aribert Reimann,
Peteris Vasks, John Adams and Astor
Piazzolla. Perhaps no other soloist of his
stature has done as much for contemporary
composers in the past 30 years.
His more than 100 albums have won
accolades including the Grand Prix du
Disque, Deutscher Schallplattenpreis,
the Ernst-von-Siemens Musikpreis,
the Bundesverdienstkreuz, the Premio
dell’Accademia Musicale Chigiana, the
Triumph Prize 2000 (Moscow) and the
Unesco Prize. In 2002, he and Kremerata
Baltica won a Grammy Award for the
Nonesuch recording After Mozart.
In 1981, Mr. Kremer founded Lockenhaus, an
intimate chamber music festival that takes
place every summer in Austria. In 1997,
he founded Kremerata Baltica to foster
outstanding young musicians from the three
Baltic States. He has toured extensively with
the orchestra, appearing at the world’s most
prestigious festivals and concert halls and
recording several CDs for Teldec, Nonesuch
and Deutsche Grammophon. From 2002-
2006, he was the artistic leader of the new
Les Muséiques festival in Basel, Switzerland.
Gidon Kremer plays a “Nicola Amati” dated
from 1641.

on kremerata baltica DAN GUBERMAN

I first came to know
Gidon Kremer’s playing
through his recordings
of contemporary
Soviet and Russian
composers, many
of whom he worked
with closely. I was
particularly drawn to
Kremer’s recordings of Alfred Schnittke. As
a composer whose music often put him at
odds with Soviet politics, Schnittke thrived
on performances by leaders like Kremer
who brought these masterpieces to people
around the world. I also first heard Kremerata
Baltica through a recording of Schnittke,
in this case the famous work Mo-zart ala
Haydn. I was particularly enamored by this
recording because it highlights the most
interesting aspect of the ensemble’s musical
vision, encouraging us to listen to familiar
music in unfamiliar ways. Throughout the
Grammy-winning After Mozart album they
mix well-worn Mozart masterpieces such
as Eine Kleine Nachtmusik with modern
compositions; often works connect in rather
clear terms to Mozart, as seen with the
Schnittke piece. Unlike many groups who
seem to combine the old and new in rather
haphazard ways, trying to appeal to diverse
audiences, Kremerata Baltica has a clear
artistic vision in their selection of works to
mix together. This vision is supported through
their dynamic performances, which can often
lead our ears to draw these connections and
make even the most frequently performed
pieces sound fresh and new.
It is with this vision of the ensemble, primarily
through their many fantastic recordings, that
I am particularly excited to hear and see their
live performance. Of particular interest to
me is their inclusion of Beethoven’s op. 131
string quartet. Certainly one of the greatest
masterpieces within the entire string quartet
repertoire, it represents Beethoven at his
most adventurous, with seven movements
that often challenge our expectations of
traditional structures. It is a work particularly
apt to be combined with more modern pieces
for all of its unexpected twists and turns. In
fact, many composers throughout the 20th
century have talked about the influence
of Beethoven’s late string quartets on the
development of 20th-century music.
I would be remiss not to mention the
political aspect of Kremerata Baltica, which
consists entirely of young musicians Kremer
selected from the Baltic States. This group
embodies music’s ability to transcend cultural
differences and bring together individuals from
diverse backgrounds and even governments
that often have conflicting interests. I am
fascinated with the political implications of
the United States funding performances of
classical music abroad during the Cold War.
While these attempts often revealed that it
is difficult to win over audiences politically
through music, Kremerata Baltica has shown
the power of music in unifying performers
and governments, becoming one of the most
important cultural institutions of the region.
This model of musical diplomacy has been
copied in the much-publicized West-Eastern
Divan Orchestra that combines young
musicians from the Middle East. Groups such
as these continue to show the power classical
music still holds throughout the world.
Dan Guberman is a PhD candidate in the
Department of Music at The University of North
Carolina at Chapel Hill.

carolina performing arts 10/11 25

 dance
“…exceeds even our
highest expectations.”
- The Times (London)

Credit: Hugo Glendinning

Sutra – Sidi Larbi Cherkaoui /

Sadler’s Wells London
Wednesday, November 10 at 7:30 PM
Thursday, November 11 at 7:30 PM
Sidi Larbi Cherkaoui / Antony Gormley / Szymon Brzóska
dance

with monks from the Shaolin Temple

www.carolinaper formingar ts.org

(919)843-3333
dance
A Sadler’s Wells Production
Coproduced with Athens Festival, Festival
de Barcelona Grec, Grand Théâtre de
Luxembourg, La Monnaie Brussels, Festival
d’Avignon, Fondazione Musica per Roma and
Shaolin Cultural Communications Company
With the blessing of the Abbot of Song Shan
Shaolin Temple Master Shi Yongxin
Performers
Ali Ben Lotfi Thabet, Shi Yanbo,
Shi Yanchuang, Shi Yanchen, Shi Yande,
Shi Yanci, Shi Yandong, Shi Yanhai,
Shi Yanhao, Shi Yanjiao, Shi Yanle, Shi Yanli,
Shi Yannan, Shi Yanqi, Shi Yanqun, Shi Yantao,
Shi Yanwen, Shi Yanxing, Shi Yanyong,
Shi Yanyuan, Shi Yanzhu
Musicians
Piano, Szymon Brzóska
Violin, Alies Sluiter & Olga Wojciechowska
Cello, Laura Anstee
Percussion, Coordt Linke
Direction & Choreography:
Sidi Larbi Cherkaoui
Visual creation and Design: Antony Gormley
Music: Szymon Brzóska
Assistant Choreographer: Ali Ben Lotfi Thabet
Additional Choreographic Assistants:
Damien Fournier & Damien Jalet
Dramaturgical Advice: Lou Cope &
An-Marie Lambrechts
Technical Direction: Alastair Wilson, PUSH4
Lighting Consultant: Adam Carrée
Production Manager: Jon Beattie
Company Stage Manager: Gemma Tonge
Technical Manager: Simon Young
Sound Engineer: Nick Rundall
Wardrobe Supervisor: Rebecca Goldstone
Monks Company Manager & Interpreter:
Li Jing
Production credits
Producer – Sadler’s Wells: Suzanne Walker
Producer – Hisashi Itoh
Tour Manager – Dawn Prentice
For Song Shan Shaolin Temple
Shaolin Temple General Director: Master Shi
Yongxin, Abbot of the Shaolin Temple
Leader of the Warrior Monks:
Master Shi Yanzhuang
General Manager (Shaolin Temple Industrial
Company): Qian Daliang
Shaolin Temple Producer: Fu Min
(Shaolin Cultural Communications
Company President)
WEd & THurs, nov 10 & 11 | 7:30 PM
Vice General Manager: Tian Jianhon
(Shaolin Cultural Communications
Company)
With the support of Het Toneelhuis, Antwerp,
where Sidi Larbi Cherkaoui is an Associate Artist.
Sutra
Celebrated Flemish/Moroccan choreographer
Sidi Larbi Cherkaoui presents a brand new
“As a child, Bruce Lee was a role model; not
just the characters he portrayed, but the man
himself and the world view he embodied.
When he spoke about martial arts, about
drawing from nature, from elemental forces,
it rang true. Through him, I delved deeper
into Kung-Fu, to the Shaolin school of chan
Buddhism. Later in life, as a choreographer
and a dancer, I was inspired by the Shaolin
understanding of movement, their complete
dance work inspired by the skill, strength and
identification with the living beings around
spirituality of Buddhist Shaolin monks. He has
them, and that remarkable ability to become
collaborated closely with Turner Prize-winning
the essence of a tiger, crane or snake.”
artist Antony Gormley, who has created a
design consisting of 21 wooden boxes that are - Sidi Larbi Cherkaoui
repositioned to create a striking, ever changing
Sidi Larbi Cherkaoui
on-stage environment. Polish composer Szymon
Director, Choreographer and Dancer
Brzóska has created a beautiful brand new score
Sidi Larbi Cherkaoui’s choreographic debut
for piano, percussion and strings, played live.
was in 1999 with Andrew Wale’s contempo-
The 17 monks performing in Sutra are directly
rary musical Anonymous Society. He has since
from the original Shaolin Temple, situated
made more than 15 full-fledged works and re-
near Dengfeng City in the Henan Province of
ceived many awards including the Fringe First
China and established in 495 AD by monks
Award, the Total Theatre Award in Edinburgh
originating from India. In 1983, the State
and the Barclays Theatre Award in London, the
Council defined the Shaolin Temple as the key
Special Prize at the BITEF Festival in Belgrade
national Buddhist Temple. The monks follow
and the Most Promising Choreographer
a strict Buddhist doctrine, of which Kung fu
Prize at the Nijinski Awards in Monte Carlo,
and Tai Chi martial arts are an integral part
the Movimentos Award in Germany and the
of their daily regime. By visiting the Shaolin
Helpmann Award from Australia in 2007. In
Temple in China and working with the Shaolin
2008, Ballet Tanz named him Choreographer
Monks over several months, Sidi Larbi follows
of the Year for his 2007-08 works: Myth,
a lifelong interest in exploring the philosophy
Apocrifu, Origine and Sutra. The Alfred Toëpfer
and faith behind the Shaolin tradition, its rela-
Stiftung awarded him its 2009 Kairos Prize in
tionship with Kung-Fu, and its position within a
recognition of his artistic philosophy and quest
contemporary context.
for cultural dialogue.
The title Sutra is derived from the Pali word
While his initial pieces were made as a core
sutta, whose primary meaning is a collective
member of the Belgian collective Les Ballets
term for the sermons of Buddha. It is also
C. de la B. – Rien de rien (2000), Foi (2003),
a generic term for rules and aphorisms – in
Tempus Fugit (2004) – he also undertook
Hinduism sutras laid down the guidelines for
parallel projects that expanded and con-
proper conduct in life. The word in Sanskrit also
solidated his artistic vision. Ook (2000) was
meant string, thread, measure of straightness.
carolina performing arts 10/11 27

born from a workshop for mentally disabled
actors held by Theater Stap in Turnhout with
choreographer Nienke Reehorst; D’avant
(2002) from an encounter with long-standing
artistic partner Damien Jalet and dancer-
singers of Sasha Waltz & Guests, and Zero
Degrees (2005) with fellow choreographer
Akram Khan. He has worked with theaters,
opera houses and ballet companies ranging
from London’s Sadler’s Wells (Sutra, 2008),
Brussels’ Théâtre de la Monnaie (Apocrifu,
2007), the Royal Danish Ballet (L’homme du
bois, 2007), Stockholm’s Ballets Cullberg
(End, 2006), Monte Carlo Ballets (Mea
culpa, 2006 and In memoriam, 2004) and
Geneva’s Grand Théâtre (Loin, 2005). His
base since 2006 is Antwerp, where he is
associate artist at Het Toneelhuis, the the-
atre that produced Myth (2007) and Origine
(2008). Eastman, his future company, an-
chors in the same port city with the making
of its first piece, Babel, in 2010.
Antony Gormley
Visual Creation and Design
London-born Antony Gormley studied archae-
ology, anthropology and art history at Trinity
College, Cambridge, travelled to India, and re-
turned to London three years later to study at
the Central School of Art, Goldsmiths College
and the Slade School of Art.
Over the last 25 years, he has revitalized the
human image in sculpture through a radical
investigation of the body as a place of memory
and transformation, using his own body as
subject, tool and material. Since 1990, he
has expanded his concern with the human
condition to explore the collective body and
the relationship between self and other in
large-scale installations like Allotment, Critical
Mass, Another Place, Domain Field and
Inside Australia. His recent work increasingly
engages with energy systems, fields and
vectors rather than mass and defined volume,
www.carolinaper formingar ts.org
(919)843-3333
Credit: Hugo Glendinning
evident in works like Clearing, Blind Light,
Firmament and Another Singularity.
His work has been exhibited extensively around
the world and he has participated in major
group shows such as the Venice Biennale
and the Kassel Documenta 8. His Field has
toured America, Europe and Asia. Angel of
the North and, more recently, Quantum Cloud
on the Thames in Greenwich are among the
most celebrated examples of contemporary
British sculpture. One of his key installations,
Another Place, is to remain permanently on
display at Crosby Beach, Merseyside.
He was awarded the Turner Prize in 1994 and
the South Bank Prize for Visual Art in 1999,
and was made an Order of the British Empire
(OBE) in 1997. In 2007, he was awarded the
Bernhard Heiliger Award for Sculpture. He is
an Honorary Fellow of the Royal Institute of
British Architects, Trinity College, Cambridge
and Jesus College, Cambridge, and has
been a Royal Academician since 2003.
Szymon Brzóska
Composer and Pianist
Recently awarded a postgraduate
diploma in composition from the Royal Flemish
Conservatory in Antwerp, Szymon Brzóska
trained under the baton of Luc Van Hove and
attended workshops by Marek Stachowski,
Tapio Tuomela, Remigijus Merkelys, Toivo Tulev
and Peteris Plakidis between 2000 and 2004.
This young Polish composer, who also holds
a Master in Arts diploma from the Ignacy Jan
Paderewski Music Academy in Poznan (where
Mirosław Bukowski was his professor), has
attracted considerable attention among
professionals of classical and contemporary
music. In 2003, his Antiphona Beatae
Mariae Virginis was chosen by the Polish
chamber choir Schola Cantorum Gedanensis
for their concert at the Festival of Sacred
Music Maria Auxilium Christianorum in
Rumia, and in 2004, he won both the
3rd prize at the Adam Didur Composition
Competiton in Sanok, Poland for Czarna róza
(The Black Rose) – song for tenor and piano
with words by Zbigniew Herbert – and the
2nd prize in the Composition Competition for
Choral Passion Song in Bydgoszcz, Poland
for Vexilla Regis Prodeunt.
In 2006, his 6 miniatures for cello and
piano was chosen for a workshop with the
prestigious Belgian Prometheus Ensemble
and he was among the selected few at the
Composition Competition of the music@
venture 2007 festival in Antwerp, which
commissioned him to create a piece for the
Belgian ensemble I solisti del vento.
Brzóska is particularly interested in the synergy
between music and arts such as contemporary
dance, theater and cinema. He has participat-
ed in soundtracks for several film and theater
projects in Poland, and his soundtrack com-
position for the French film Le bruit des gens
autour, directed by Diastème and produced by
Cipango Productions, was heard at the Festival
d’Avignon pre-screening before September’s
European commercial release.
Shaolin Temple
The warrior monks performing in Sutra are
from the Shaolin Temple, situated near
Songshan mountain in the Henan Province of
China and established in 495 AD by monks
originating from India. In 1983, the State
Council defined the Shaolin Temple as the
key national Buddhist Temple. They follow a
strict Buddhist doctrine, of which Kung-Fu &
Tai Chi martial arts are an integral part of
their daily regime. A patriarchal clan system
presides within the Temple, and in nearly 800
years there have been over 30 generations
of monks. The representatives of the current
generations have, in their surnames, the char-
acters of Su, De, Xing, Yong, Yan and Heng.
Master Shi Yongxin is the present Abbot of
the Shaolin Temple. Shaolin Kung-Fu is one
of the oldest Chinese martial arts traditions.
Based on a belief in the supernatural power
of Chan Buddhism, the moves practiced by
the Shaolin Kung-Fu monks are its major form
of expression. According to the guidebooks
handed down in the Shaolin Temple, Kung-Fu
has 708 movement sequences, plus 552
boxing sequences and 72 unique skills for
capturing, wrestling, disjointing and touch-
ing vital points in order to cause injury. The
monks of the Shaolin Temple regard the per-
fection of their Kung-Fu warrior skills as their
lifelong goal. Fully understanding life with no
fear in their hearts, their physical and mental
practice embodies the ancient Chinese belief
in the unity between heaven and man.
Please note: There are many martial arts
schools that have also been set up in the
region under the name of Shaolin, from which
performers for many of the more commercial
Shaolin Monk shows are drawn, however the
performers in Sutra are all Buddhist Monks
from the original temple itself. More informa-
tion about the temple can be sourced at www.
chinavoc.com/kungfu/shaolin/intro.asp
Sadler’s Wells is the UK’s leading dance
house, bringing the widest forms of world-
class international and UK dance to London
audiences. As a well-established producing
house under the Artistic Directorship of
Alistair Spalding, Sadler’s Wells is com-
mitted to producing, commissioning and
presenting award-winning works and ground-
breaking collaborations on an international
scale, including zero degrees, PUSH and
Sutra. Sadler’s Wells is dedicated to work-
ing with celebrated artists, performers and
companies at the forefront of dance, many
of whom are Associate Artists and resident
companies of the theatre, including Sylvie
Guillem, Akram Khan, Matthew Bourne
and his company New Adventures, Wayne
McGregor and his company Wayne McGregor
Random Dance, Russell Maliphant, Jasmin
Vardimon, Jonzi D, Sidi Larbi Cherkaoui and
Christopher Wheeldon and his company
Morphoses/The Wheeldon Company.

on Damo and Shaolin Temple Kungfu Tom martineau

The international col-
laboration represent-
ed by Sutra has roots
that date back more
than 1,500 years.
It was international
collaboration that led
to the founding of the
Shaolin Temple and
the creation of Shaolin Temple Kungfu (mar-
tial arts). Shaolin Temple Kungfu was created
thanks to the Indian monk Boddhidharma,
also known as Damo. My own experiences in
China have given me a particular admiration
for Damo.
I lived in China from 1995 to 2002 and have
traveled back to China numerous times
since 2005 for my work here at UNC-Chapel
Hill, but this will be my first oppor tunity to
see the Shaolin monks per form live. For
most of my first year in China I was the sole
non-Chinese resident in Yibin prefecture in
Sichuan province. Yibin has a population of
about 3 million people and is located at the
star ting point of the Yangtze River. I was
par t of the second group of Peace Corps
Volunteers to be sent to China and my
assignment was to teach English at Yibin
Teachers Training College.
Damo traveled to China on the instruction
of his dying teacher, Master Prajnatara.
After offending the emperor in Nanjing with
his teaching, he eventually made his way to
Shaolin Temple. Damo’s teaching was not
all that well received at Shaolin when he
first arrived, but as legend has it, he went
to a cave to meditate for nine years, and
afterwards he invented what is known today
as Shaolin Temple Kungfu.
I admire Damo both for his tendency to annoy
authorities and his persistence after a less
than enthusiastic reception from the monks
of Shaolin. In Damo’s case this was because
of the physical demands of his teachings.
In my case it was hard for my students to
be enthusiastic about the demands of their
foreign teacher given the fact that they had
to take the English skills they learned back to
their hometowns in the countryside to teach
in poor middle schools, for back then the
price of a free college education was a “dead
end” work assignment.
As we watch these 17 distant disciples of
Damo display their skills, I’ll think of my own
students from Yibin. China has changed so
much since I first arrived fifteen years ago, in
ways that my students and I could not have
imagined back in 1995. Today, Yibin Teachers
Training College is a four-year school. Tuition
is no longer free, but “dead end” work
assignments are no longer obligatory. The
iron rice bowl has long been shattered.
Fifteen years ago I would not have imagined
seeing the Shaolin monks for the first time
here in Chapel Hill as part of a Flemish/
Moroccan, British and Polish artistic
collaboration. This leads me to believe that
the fates of my 300 students took some
interesting twists and turns over the years.
Thanks to Damo, for none of this would have
been possible without him.
Tom Martineau is Manager of the Office for China
Initiatives and Special Projects at The University
of North Carolina at Chapel Hill’s Global Research
Institute.

carolina performing arts 10/11 29

 american roots
“…one of the most compelling
americ
new voices on the roots-rock scene.”
- Boston Globe

Credit: Joe del Tufo

Carrie Rodriguez and Ben Sollee

Wednesday, November 17 at 7:30 PM
american roots

www.carolinaper formingar ts.org

(919)843-3333
can roots
Carrie Rodriguez
Love and family have always been sources
of inspiration for critically acclaimed singer/
Ben Sollee
Classically trained cellist Ben Sollee made
his name as a backup musician before
wed NOV 17 | 7:30 PM

US State Department, and released several

recordings, all of them adventurous projects
songwriter/musician Carrie Rodriguez, launching a songwriting career in 2008. that featured a blend of American and Asian
but never have they featured more Raised in Lexington, KY, he began playing folk traditions. Sollee enjoyed very positive
prominently than on her new release Love cello in the fourth grade and slowly blos- press for his contributions to the group,
& Circumstance, a covers album including somed into a talented instrumentalist. The and NPR’s Morning Edition named him one
songs written by her father and once per- family household was filled with the vintage of the Top Ten Unknown Artists of the Year
formed by her great-aunt. soul music of Wilson Pickett, Ray Charles, in 2007. One year later, he released an EP
Billie Holiday and Otis Redding, and Sollee’s of his own material, If You’re Gonna Lead
Rodriguez’ journey from teenage violin
subsequent discovery of folk music helped My Country, following it with the full-length
student to touring the world with the likes
round out his musical tastes. By the time album Learning to Bend.
of Chip Taylor (famed songwriter of “Wild
he relocated to Louisville to pursue his craft Sollee also found time to play with other art-
Thing”), Lucinda Williams and Alejandro
professionally, he’d grown into an eclectic ists, including pianist Vienna Teng and fellow
Escovedo has resulted in a prodigious
musician with demonstrated interests in Kentucky native Daniel Martin Moore. A folk
output of recordings. Love & Circumstance
folk, jazz, R&B, and bluegrass. songwriter himself, Moore began composing
includes compositions by John Hiatt/Nick
Lowe/Ry Cooder/Jim Keltner (aka Little Although he’d already begun writing his own a number of new songs with Sollee’s help,
Village), Buddy Miller & Julie Miller, Gillian songs, Sollee received his first big break as and the two soon banded together for the
Welch & David Rawlings, Richard Thompson, a member of the Sparrow Quartet, an acous- creation of Dear Companion. A third Kentucky
Townes Van Zandt, M. Ward, Merle Haggard tic supergroup featuring vocalist Abigail resident, My Morning Jacket’s Jim James,
& Bonnie Owens, Hank Williams and Lucinda Washburn, banjo virtuoso Béla Fleck and produced the album, which was released by
Williams. Produced by Lee Townsend, the violinist Casey Driessen. The group toured Sub Pop in February 2010.
players include Bill Frisell (guitars), Greg the world, visited Tibet at the behest of the - Andrew Leahey, Rovi
Leisz (pedal steel & slide guitars), Aoife
O’Donovan (background vocals) and Buddy
Miller (background vocals).
Rodriguez’ career was launched in 2001
after a show at South By Southwest intro-
duced her to Chip Taylor, with whom she has
recorded four albums and an EP. But her
musical development started much earlier at
the hands of her songwriting veteran father
David Rodriquez. By 15, Rodriguez and her
dad were touring the Netherlands together
and chops were being honed.
Rodriguez’ maternal side of the family also
influenced her musical upbringing. Not only
was her mother a fanatical opera enthusiast,
her great-aunt, Eva Garza, was a popular
Latin recording artist in the ’50s, and it
was from her that Rodriguez first heard “La
Punalada Trapera,” which soon became a
mainstay in her live set. Having family friends
include Lyle Lovett, who invited Rodriguez to
sit in with his band when she was at college,
also helped her develop as a performer.
For those who want a more intimate experi-
ence with Carrie Rodriguez, you’ll find her
where she started, live and on the road.

carolina performing arts 10/11 31

www.carolinaper formingar ts.org
(919)843-3333
on Carrie Rodriguez and Ben Sollee
Ben Sollee and Carrie
Rodriguez set my
heart a-flutter. I think
of them performing
together, and all I
want is to be there
– tucked backstage
between the curtains,
listening to the
harmonies of voice and instrument as they
weave a tapestry of sound. All the romance
of bows against strings and voices “raised
in harmony” is juxtaposed with music that
is forcefully truthful and real. Rodriguez and
Sollee are emotionally, musically and lyrically
invested in what they are doing. The sound
is vibrant, changing and breathtaking; full of
peaks and lows, vivid colors and textures that
speak to deeply-felt emotion.
Instrumentally, they’re swimming in classical
proficiency. Stylistically, they have taken the
tools of their classical training and created
their own distinctive techniques. Some folks
describe it as “roots music,” but what does
that mean? I’m no expert.
Perhaps it’s the gut feeling I get when I listen
to the earthy textures and rhythms Sollee
elicits from his cello. Perhaps it’s the way they
sing in their soulful, unique voices. Maybe it’s
because they write their own songs; songs
that are rooted in a place and speak to a
rich personal and musical history. They have
something to say about their beliefs, love,
human relationships and the environment.
They care, and they let you know it.
I first heard Carrie Rodriguez two years ago,
when a boyfriend introduced her record
Let’s Leave This Town as his favorite. He’s
since moved on, but I haven’t. I still play her
songs on repeat, singing harmonies under
her recorded vocals, wishing I could get the
chance to play with her in real life.
I was lucky enough to have that chance with
Ben Sollee – my band and I opened for him
on a couple tour dates last January. He was
instantly welcoming and kind to us. Once we
had finished our set and cleared the stage,
we were treated to the real highlight of the
night: watching him perform. Onstage, he
embraces his cello with his whole body. As he
Lizzy Ross
moves with the rhythm of the music, singing
from deep within his gut, you can feel the
music pouring out of him. You can practically
see it floating out over the room and settling
on the audience, spilling like fairy dust that
lets them fly away – to somewhere else – for
the duration of the performance. Then the
show ends, and it’s time to go home and
wear out his records until he’s back in town.
I don’t know how Memorial Hall united these
two giants of stringed innovation, but I am
thrilled that they will be here. As a young
musician and recent graduate of UNC-Chapel
Hill, I cannot emphasize enough how deeply
they inspire me. They prove that it is possible to
“make it” and remain true to the artistic spirit.
They send me packing to the practice room, in
love with my instrument again and filled with
fresh excitement for songwriting. Seeing them
on stage together might be too much goodness
for one night, but I’m willing to risk it.
Lizzy Ross recently graduated from The University
of North Carolina at Chapel Hill with a degree in
Philosophy. She is now a professional musician
and plays frequently in the Triangle area. For more
information, visit www.lizzy.net
carolina performing arts 10/11 33
 special event special
“…one of the best story ballets
of the past quarter century…”
- The Washington Post

Credit: Photo courtesy of Carolina Ballet

Nutcracker – Carolina Ballet

Saturday, December 4 at 2 & 8 PM
Sunday, December 5 at 2 PM
special event

Artistic Director – Robert Weiss

Executive Director – Lisa Jones

www.carolinaper formingar ts.org

(919)843-3333
event
Program
Act I
Miniature Overture
The Decoration of the Christmas Tree
March
Children’s Gallop and Dance of the Parents
Arrival of Drosselmayer
Grandfather’s Dance
Departure of the Guests – Night
Battle and Transformation
Journey Through the Snow
Waltz of the Snowflakes
INTERMISSION
Nutcracker
Act I – Christmas Eve
It is Christmas Eve in the home of Dr.
Stahlbaum, a city official, and his wife, who
are preparing for a Christmas Party. The
children, Clara and Fritz, having fallen asleep
waiting for the arrival of the guests, awaken
in great anticipation. Soon the guests arrive
with their children and there is much rejoic-
ing 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 impor-
tant of all, presents are given out.
Suddenly the lights flicker and a terrifying owl
flaps its wings on the huge grandfather clock as
the hour is struck. The door opens and in comes
an old family friend, Herr Drosselmeyer, who is
also Clara’s godfather. A mysterious man and
a marvelous inventor of toys, he has brought
with him three large boxes and is accompanied
by his handsome young nephew. Drosselmeyer
kisses Clara’s hand and introduces her to his
nephew, whom she likes immediately. The gifts
in the large boxes are a Cavalier, a Ballerina
and a Toy Soldier Doll who dance to jolly tunes,
delighting everyone. Then he brings out a
large Nutcracker, a soldier, for Clara. She is
very pleased when she sees how it works, but
Fritz is furious. He grabs the Nutcracker and
stamps on it. The nephew chases him away as
Clara weeps. Drosselmeyer plays doctor and
ties a handkerchief around the Nutcracker’s
broken head.
SAT, DEC 4 | 2 pm/8 pm
Act II
The Magic Castle (Truffles)
Arrival of Clara and the Nutcracker
Spanish Dance (Chocolate)
Arabian Dance (Coffee)
Chinese Dance (Tea)
Trepak Russian Dance (Candy Canes)
Dance of the Reed-Pipes (Ribbon Candy)
Mother Ginger and her Gingerbreads
Waltz of the Flowers
Dance of the Sugar Plum Fairy
Final Waltz
The nephew brings Clara a bed for the
Nutcracker and he is tucked in and put under
the tree. Dr. Stahlbaum and his wife lead all
the guests in one final dance, Clara danc-
ing 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 screwdriver. Clara
enters the room at midnight in her night-
gown. She goes directly to the Nutcracker
and cradles him in her arms. There is a
rustle, the Christmas tree lights flash on
and off. Giant mice take over the room and
Drosselmeyer and the Rat King appear in the
portraits as antagonists. Clara dashes to the
sofa and huddles there.
Suddenly everything in the room grows, in-
cluding the Christmas tree, the toy soldiers,
and even the walls. The soldiers protect
Clara by fighting the mice, but the mice, led
by their fierce king, seem to be winning. Then
the Nutcracker, grown to life size, rises from
his bed and leads the soldiers. A cannon
is brought and cheese is fired at the mice.
Clara throws her slipper and hits the Rat King
by surprise. The Nutcracker kills him with his
sword and the battle is won. He bows to
Clara and proudly gives her the crown taken
from the Rat King. Clara falls onto the bed
which then mysteriously glides out of the
room into the snowy evening. She arrives at
the Kingdom of Snow where the Nutcracker
has turned into a handsome young prince. In
a snowy forest, snowflakes dance, tossed by
the Northwind.
Act II - The Land of Sweets
The curtain rises on twelve Chocolate
Truffles. The Sugar Plum Fair y, who rules
| SUN, DEC 5 | 2 pm
over this Kingdom of Sweets, makes a regal
entrance and dances a charming variation
to the tinkling celesta. The Truffles enclose
her in a semi-circle of love. Then leading the
Truffles off, the Sugar Plum Fair y 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 high on a beautiful
cake. 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. All of the candies
come back in as the Sugar Plum Fairy and her
cavalier bid the young couple farewell. Clara
and her prince step into the nut shell boat,
and before our very eyes, they rise right into
the sky and away.
Carolina Ballet
Carolina Ballet is one of America’s premiere
arts organizations. Launched as a profes-
sional dance company in 1998 under the
direction of Artistic Director/CEO Robert
Weiss, the company has since garnered
critical praise from the national and inter-
national media, staged 75 world premiere
ballets, and toured internationally in China
and Hungar y. Weiss, former artistic director
of the Pennsylvania Ballet and principal
dancer at New York City Ballet under the leg-
endar y George Balanchine, programs tradi-
tional ballets by legendar y masters and new
works by contemporar y choreographers.
Highlights of Carolina Ballet’s 2010-2011
season include 75 per formances of 15
ballets, including the world premiere
double feature of Bram Stoker’s Dracula by
Lynne-Taylor Corbett and Edgar Allan Poe’s
The Masque of the Red Death by Rober t
Weiss, the company premiere of Pinocchio,
and three additional new ballets. Firebird,
The Ugly Duckling, Carmen, A Midsummer
Night’s Dream and Nutcracker also return
to the reper tor y during the company’s
13th season.
carolina performing arts 10/11 35
 important information
Memorial Hall Box Office Hours 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
• Monday-Friday: 10:00am - 6:00pm
the performance and will be considered a tax-deductible donation.
• Weekday events: 10:00am - intermission
A receipt for the donation will be issued. If a performance is
• Weekend events: 12 noon - intermission
cancelled, patrons will be refunded the face value of the ticket.
Memorial Hall Box Office
All tickets, other than those purchased in person, will be mailed.
The University of North Carolina at Chapel Hill
CB#3276, 114 East Cameron Avenue Please allow 7-10 days for delivery. All tickets purchased less than
Chapel Hill, NC 27599-3276 seven days prior to the performance will be held at Will Call. Patrons
P: (919) 843‑3333; F: (919) 843‑9848 must present photo identification to pick up tickets at Will Call.
E-mail: performingarts@unc.edu All persons, regardless of age, must have a ticket for admission
to performances.
House Policies A current mailing address, e-mail address and phone number are
Late Arrivals required when purchasing tickets.
• Patrons arriving after the start of a performance will be seated at All programs, dates, times and prices are subject to change.
the discretion of the house staff, typically in between works.
Subscriptions
Coat Check
The Best Ticket Prices
• This service is available for patrons seasonally and is located on
the left side of the main lobby. Memorial Hall is not responsible for Purchase a subscription to receive a 15% discount off single
lost, stolen or damaged items. ticket prices.

Lost and Found The Best Possible Seats

• For lost items, please contact the Box Office. For found items,
please notify an usher.
Services for Persons with Disabilities
• 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.
• No food or beverage is allowed inside the auditorium.
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 Student Tickets
prohibited during performances.
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.
Renewing subscribers keep the same seats for future seasons as
long as they continue to subscribe. If they decide to make a seat
change, their request is given the highest priority and is handled
before new subscribers.
The Best Benefits
Special events & single ticket pre-sale
• Ticket donation
• Ticket exchange
• Insurance for lost or forgotten tickets
• Annual subscriber open house reception
• E-mail alerts to special offers and sales
For more details, visit the subscription section at
carolinaperformingarts.org/tickets or call the Memorial Hall Box Office.
Group Tickets
Groups of ten or more receive 10% off the general public ticket price.
Faculty and Staff Tickets
UNC-Chapel Hill faculty and staff may purchase any and all series
subscriptions at a discount of 20% off the single ticket price.
A valid UNC OneCard must be presented to receive the faculty and
staff discount.
Students can attend regular season Carolina Performing Arts events
for only $10. Each patron with a student ticket must display their
valid UNC One Card upon entry. Limit two (2) tickets per OneCard,
limit two (2) OneCards per order.

www.carolinaper formingar ts.org

(919)843-3333
NATIONAL ADVISORY BOARD
The Carolina Performing Arts National Advisory
Board of alumni and friends guides and champi-
ons 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.
Tom Kearns, Darien, CT / Chair
Jane Ellison, Greensboro / Vice Chair
Peter Cummings, Palm Beach Gardens, FL
Paula Flood, Chapel Hill
Jim Heavner, Chapel Hill
Cheray Z. Hodges, Chapel Hill
Joan C. Huntley, Chapel Hill
Sally Johnson, Raleigh
Emil Kang, ex-officio
Anne C. Liptzin, Chapel Hill
Scott Maitland, Chapel Hill
Sara McCoy, Chapel Hill
James Moeser, Chapel Hill
Patty Morton, Charlotte
Josie Patton, Chapel Hill
Phil Phillips, Jr. Chapel Hill
Wyndham Robertson, Chapel Hill
Barbra Rothschild, New York
Dee Schwab, Charlotte
Chancellor Holden Thorp, ex-officio
Stacey Yusko, Chapel Hill
Doug Zinn, Chapel Hill
Staff Liaison: Priscilla Bratcher
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. Due to the economic turndown, our en-
dowment, although safe, will not provide fund-
ing for our annual needs for the second year
in a row. However, many of our most generous
endowment donors have given the equivalent
of the interest we would have earned from our
invested funds. We anticipate that the fund
will begin providing annual support in fiscal
year 2012.
Carolina Performing Arts has pressing needs to
fund the difference between our ticket income
and the actual cost of presenting our expanding
series. Right now, tickets provide only about
55% of the total cost of presenting artists on
our stages. The best way to do this 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.
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.
Ticket sales cover only a portion of the total costs in presenting such a series. Support from
members is critical to maintain the artistic excellence of Carolina Performing Arts, its outreach
programs, and student ticket subsidies.
Members enjoy a variety of special privileges as listed below. An annual membership begins at
$125. We want to make your Carolina experience richer, more convenient, and more fun! Benefits
and privileges are listed within the various membership levels following:
Undergraduate and Graduate Member: $35
• All benefits and privileges afforded to Sponsoring Members
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
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
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
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
The David Lowry Swain Society: $10,000-$14,999
The David Lowry Swain Society is the Performing Arts Society’s most exclusive membership
program, offering members first class benefits throughout the year. Membership in the Swain Society
is granted 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) 843‑1869 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
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 a particular performance, then dedicated to you. 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 above 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)
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 10/11 37
 SPOTLIGHT
donor spotlight
Debbie McDermott and Scott Garcia

Scott Garcia and Debbie McDermott are having a ball. Married for performance with her and she will attend a Roots show. And they are
four years, the couple first met and became friends as Carolina under- glad they do. Scott recalls the 2008 opening performance of Abigail
grads. Scott moved to Columbia, SC and Atlanta for jobs while Debbie Washburn and the Sparrow Quartet as by far the best concert he’s
stayed in the Triangle. He moved back in 2003, they reconnected, ever seen in his life and Debbie is glad she reluctantly joined him that
began to date and a wedding followed a few years later. Today they evening. The sense of discovery is all part of the fun.
live in Durham with Debbie working at Carolina’s Office of University
Today, they are passionate about the opportunity Carolina students
Development and Scott in Raleigh. They’re enjoying their life together
have to see the best from around the world at Carolina Performing
which is filled with concerts, dining out, travel, friends and family. Like
Arts. They can’t believe today’s students get a chance to see every-
so many others in their early 30s, “planning for the future” might mean
thing from the London Philharmonic Orchestra to Earl Scruggs, from
nothing more than what they are going to do for the weekend.
Hugh Masekela to the Bolshoi Ballet and for, as Scott says, “pennies.”
They just returned from almost a month in South Africa. The summer
“Students have a remarkable opportunity to see amazing shows,” he
trip was “life changing” and “amazing.” In a marital compromise,
explains. “Why didn’t I do that while I was here? I want to make sure
they chose South Africa for the World Cup (Scott) and exploration
this opportunity is here for generations of Carolina students, a chance
(Debbie.) During their visit, they saw seven matches and much of
to do what I didn’t.”
the country including Cape Town, Port Elizabeth, Johannesburg and
Kruger National Park. Back at home, they are planning their next trip
which could be anywhere. They are young, healthy, own a home, have
no children and are free to imagine and explore. Life is pretty great for “We met here, had a wonderful education and
the McDermott-Garcias just as it is.
have now made our life in this community.”
But one thing about them is quite unusual: their decision to finalize
their wills at such a young age. They did that this year, just before
their trip to Africa. And, yes, Carolina will be a beneficiary. And not just
As good as their word, they made a promise, through their wills, to
Carolina in general. They have specified, among other areas of the
future generations of Carolina students, ensuring that ticket prices will
campus, the Student Ticket Angel Fund at Carolina Performing Arts for
remain accessible for many years to come. And by having documented
a very intentional reason.
their wills with the Office of Gift Planning, they are now members of the
Unlike many alumni, young and less young, performances at Memorial University’s Gerrard Legacy Society. It is probably safe to assume they
Hall did not loom large during their college years. In fact, Scott doesn’t are among the youngest members of that group.
think he ever went inside the building during his four years in the
“It’s important that people determine where their legacy goes rather
1990s. Debbie, after some thought, recalls a Loreleis concert, only
than leaving it up to others,” says Debbie, whose job it is to help
because a friend of hers was in the ensemble. In other words, the
University donors plan their estate giving. “If you don’t make your wish-
performing arts were not on their radar as college students.
es known, the law can take that power out of your hands. Your legacy
But they do love the arts and always have. Growing up, Debbie studied could end up with people with whom you don’t have a relationship.”
piano and ballet in Raleigh while Scott played in the band in Morganton.
“We don’t have kids,” she continues, “and we wanted to honor
He loves music, she loves theater and dance. So when they settled
Carolina with our estate. We met here, had a wonderful education and
down in Durham, they began attending performances at Memorial
have now made our life in this community.” They hope their example
Hall. Debbie says compromising on what they want to see means that
will encourage others, regardless of age, to do the same.
they are expanding each other’s tastes in the arts. He’ll go to a dance

www.carolinaper formingar ts.org

(919)843-3333
10/11season 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*
donors
David Lowry Swain Society
($10,000 - $14,999)
The Abram Family
Rebecca and Munroe Cobey
Luther and Cheray Hodges
Mr. Thomas S. Kenan III
William R. Kenan, Jr. Charitable Trust
Mrs. Georgia Carroll Kyser
Kimberly Kyser
Priscilla Bratcher
Timothy Bukowski and Naomi Kagetsu
Leigh Fleming Callahan
Michael and Diana Caplow
Art Chansky and Jan Bolick
Kathryn Conway
Anonymous
Frederic & Jane Hoke Dalldorf
Jo Anne & Shelley Earp
Tom Kearns Pat and Jack Evans
Amanda Kyser
William and Sara McCoy Maryann Feldman
William and Sara McCoy
Anonymous Fidelity Investments
Charles Weinraub and Emily Kass
Arthur and Deborah Finn
Mark W. and Stacey M. Yusko
in memory of Pauline Radovsky
Named Endowed Funds Mimi and James Fountain
($100,000 and above) Platinum Tier Diane Frazier
The Hamlet Family Performing Arts Student ($5,000 - $9,999) Ray and Marcia Freeman
Enrichment Fund supporting student engagement Eleanor and James Ferguson Burton and Kathleen Goldstein
with artists. Eugene and Paula Flood Dr. Rebecca Goz
Jaroslav F. Hulka and Barbara S. Hulka Frances C. Gravely
The William D. and Dr. Sally C. Johnson Music Tom Kearns William and Elizabeth Greenlee
Enrichment Fund supporting collaborations with the Mrs. Frank H. Kenan Robert and Dana Greenwood
Department of Music. Otis Littlefield Dr. and Mrs. Joseph Gulla
John A. McLendon Leesie and Bill Guthridge
The James Moeser Fund for Excellence Christy and Joel Shaffer Jim and Ann Guthrie
in the Arts supporting artists’ fees for the world’s Mrs. Sidney Siegel William Edwin Hollan, Jr.
most recognized and outstanding performers. Professors Emeriti Charles M. and Shirley F. Weiss Charles House
Doug and Jacqueline Zinn Marguerite Hutchins
The Mark and Stacey Yusko Performing Arts Fund Deborah Hylton and Leland Webb
supporting Carolina student arts experiences. Lisa and Theodore Kerner, Jr., M.D.
Gold Tier Mack Koonce and Hope Thornton Koonce
($2,500 - $4,999) Alice and Sid Levinson
Major Gifts and Pledges Mary Bickers Judith Lilley in memory of Al Lilley
($25,000 and above) Betsy and Fred Bowman Harriet and Frank Livingston
Anonymous Cliff and Linda Butler Donald E. Luse
John W. Hughes III Leonard Cass Stephen J. and Karen S. Lyons
Florence and James Peacock Michael and June Clendenin Stanley R. Mandel
Wyndham Robertson Mark and Marjorie Crowell Betty Manning
Dr. Joan C. Huntley Peter D. Cummings Carol and Rick McNeel
Professors Emeriti Charles M. Shirley Drechsel and Wayne Vaughn Dr. and Mrs. Travis A. Meredith
and Shirley F. Weiss* Frank H. Dworsky Anonymous
Shirley J. Berger Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Mary and Ted Moore
Bobby and Kathryn Long Mrs. Frederick A. Fearing Lawrence Moray
Paul and Sidna Rizzo Dr. Harry Gooder and Ms. Sally Vilas Barry Nakell
Garry and Sharon Snook Susan Gravely and Bill Ross Paula Davis Noell
Top of the Hill Restaurant and Brewery Mr. and Mrs. William H. Grumbles, Jr. Karl Nordling
Elizabeth Willis Crockett Lowell and Ruth Hoffman Josie Ward Patton
Mr. and Mrs. Robert F. Murchison Nancy Joyner Dr. Etta D. Pisano and Jan Kylstra
Dr. Charles B. Cairns & The Family Lisa and Emil Kang Edwin and Harriet Poston
Mrs. Georgia Carroll Kyser Dr. Marcia Anne Koomen Jolanta and Olgierd Pucilowski
Kimberly Kyser Diana and Bob Lafferty Robin and Harold Quinn
Amanda Kyser Dayna and Peter Lucas Elizabeth Raft
Drs. Michael and Christine Lee David Kent Medlock Peter Croll Reichle
Anne and Mike Liptzin Charles and Valerie Merritt Russell and Ann Robinson
Deborah and Ed Roach James and Susan Moeser David and Susan Rosenberg Family
Lee and Myrah Scott Paul D. and Linda A. Naylor Foundation of the Triangle
Crandall and Erskine Bowles Francine and Benson Pilloff Community Foundation
Paula Rogenes and John Stewart Andrew and Barbra Rothschild
*Irrevocable deferred gift Coleman and Carol Ross Patricia Shaw
Ernie and Mary Schoenfeld Robert and Helen Siler
Anonymous Mr. and Mrs. Alan C. Stephenson
CAROLINA PERFORMING Mr. Ted B. Seagroves Dr. Kenneth and Mary H. Sugioka
Jane McKee Slater
ARTS SOCIETY Lynn Smiley and Peter Gilligan
Kay and Richard Tarr
Michael and Amy Tiemann
ANNUAL GIFTS Denise and Steve Vanderwoude Diane Vannais and Charles Waldren
Contributions received July 1, 2009 to Brad and Carole Wilson Alan Harry Weinhouse
August 1, 2010 as of date of printing. William Whisenant and Kelly Ross
Silver Tier Jesse L. White, Jr.
Performance Benefactor ($1,000 - $2,499) John and Ashley Wilson
($15,000 and above) James and Delight Allen
Anonymous Michael Barefoot and Tim Manale Sponsoring Member
honoring the memory of Fred Fearing Neal and Jeanette Bench ($125 - $999)
Anonymous Dolores Bilangi Brigitte Abrams and Francis Lethem
Wyndham Robertson M. Robert Blum Anonymous
William Bolen Elizabeth Anderson

carolina performing arts 10/11 39

 10/11season donors
Cutler and Cristin Andrews
Pete and Hannah Andrews
Nina Arshavsky
Denise Ashworth
Ingram and Christie Austin
Steven B. and Elizabeth Ayers
Dr. and Mrs. Lawrence Band
Linda J. Barnard
Judith and Allen Barton
Mary Allison Beck
John W. Becton and Nancy B. Tannenbaum
Donna Bennick and Joel Hasen
Donna Bergholz
Susan Bernstein
Sue Bielawski
Lewis Niles Black
Sara Bleick
in memory of Margaret Bleick Dillard
Gloria Blythe
Jack and Jennifer Boger
Barry L. Boneno
Natalie and Gary Boorman
P. Scott and Victoria Bouldin
Thomas and Betty Bouldin
Terrell Boyle
Rebecca Brick Bramlett
Joan Brannon
Craig and Catherine Briner
Lois Bronstein
Howard and Patricia Brubaker
Jamie and Anne Bryan
Jean Buckwalter
Betsy Bullen
Thomas W. and Gail W. Bunn
Bob Cantwell and Lydia Wegman
Lawrence and Helen Cardman
Philip and Linda Carl
Carolina Home Mortgage
Catharine Carter
Michael Case and Lewis Dancy
Dr. Gillian T. Cell
James Abernethy Cobb, Jr.
Thomas Cole
Walter and Renate Coleshill
Donald and Eunice Collins
Sally and Alan Cone
in honor of Anne and Mike Liptzin
Brian Conlon
Carolyn M. Conners, Ph.D.
Adrienne Cox
Anne-Marie Cuellar
John and Janina DeMasi
Mr. and Mrs. Michael J. Donoghue
Mary C. Dowe
Steven Dubois and Kathleen Barker
John R. Edwards and
Elizabeth Anania Edwards
George and Blair Evans
Rabbi Frank and Patricia Fischer
Dr. and Mrs. E.S. Fishburne
Jaroslav Thayer Folda III
Linda Frankel and Lewis H. Margolis
Donald and Elizabeth Frazer
Douglas and Judy Frey
James and Marcia Friedman
Ed and Bonnie Fuchs
Mr. and Mrs. J. Rex Fuqua
Maeda Galinsky
Greg Gangi
The Joseph and Anna Gartner Foundation
Ann and David Gerber
Rose Marie Pittman Gillikin
Bonnie B. Gilliom
Lallie M. and David R. Godschalk
Dick and Barbara Gordon
Mr. and Mrs. Walter Gordon
www.carolinaper formingar ts.org
(919)843-3333
Charles and Karen Goss Steve and Susan Nelson
S. Elizabeth Grabowski and James R. Symon John and Dorothy Neter
Page Gravely Patrick and Mary Norris Oglesby
Steve Gravely Newland and Jo Oldham
Alexis Groner John V. Orth
Albert and Mary Guckes Vickie Owens
Carol and Nortin Hadler Robert and Mercy Pastor
Lee Hansley Pamela and Gene Pease
Barbara and Paul Hardin Larry E. Peterson
Robert S. and Leonne Harris Dick and Jean Phillips
Martha Liptzin Hauptman Kaola and Frank Phoenix
in honor of Mike & Annie Liptzin Carlyn and Ivan Pollack
Clark and Karen Havighurst David and Peggy Poulos
Charles S. Head Dr. and Mrs. Thomas Edward Powell III
David and Lina Heartinger William and Cathy Primack
Gerardo and Jo Heiss David Prince
Richard Hendel Drs. James and Lilian Pruett
Hill Family Fund 2 of Steve Prystowsky M.D.
Triangle Community Foundation Susan Rao
Charles Hochman and Phyllis Pomerantz Jan Rivero and Jeffrey Pugh
Carol Hogue Gerry Riveros for Gay Bradley
Joan and David Holbrook Dr. Michael and Sandra Roberts
in honor of Marvin Saltzman Stephen and Patricia Roberts
Susan Hollobaugh and Richard Balamucki Stephen and Esther Robinson
William and Mary Holmes Andrea Rohrbacher
Beth Holmgren and Mark Sidell Margaret Rook
Elizabeth M. Holsten Richard Rosenberg
Andrew and Charlotte Holton Robert Schreiner
John Hsu John and Anna Schwab
David and Sally Hubby Carol and David Sclove
George William Huntley III Jennifer and Bill Selvidge
Marija Ivanovic Robert and Pearl Seymour
Dr. Norris Brock Johnson Robert Shipley
Kevin and Michele Judge Mark and Donna Simon
Harry Kaplowitz Rosemary Simpson
Howard Kastel Kathy and Paul Singer
Thomas and Janet Kean Anne H. Skelly
R. David and Mary Ann Kimball Dana L. Smith
Anonymous Charles and Judith Smith
Kimberly Kingsley Martha Smith
J. Larry Klein Kenneth Soo
Lynn Knauff Jane Stein
Gary Koch Gary and Anne Leslie Stevens
Barncy and Betsi Koszalka Ron Strauss and Susan Slatkoff
Anonymous Leslie and Paul Strohm
G. Leroy Lail Frank and Geraldine Stutz
Ted and Debbie LaMay James and Sandra Swenberg
Leslie and Barbara Lang Helen Szuluk
Ken and Frankie Lee Ellyn and Jimmy Tanner
R. Michael and Michelle Leonard Sumner and Charlotte Tanson
in honor of Kelly Stowe Boggs Nick Taylor
Amy and Alan Levine Colin G. Thomas, Jr.
Richard and Jane Levy Charles and Patricia Thompson
in honor of Annie Liptzin in memory of Ruth A. Richard
Robert M. Lewis, Jr. Rollie Tillman
Joan Lipsitz and Paul Stiller M.E. Van Bourgondien
Robert Long and Anne Mandeville-Long Todd Vision
Robert and Kathleen Lowman G. Burkhard Mackensen and Jutta Von Stieglitz
Richard Luby and Susan Klebanow Sejal Prabodh Vora
Mary R. Lynn Katherine Wang
Edwin H. Mammen Wellspring Fund of Triangle Community Foundation
Richard Mann R.H. and Barbara Wendell
Anonymous Marlene and Roger Werner
Randall Martin Katherine White
William Mattern Buck and Anne Williams
John and Janine McGee John W. Williams, Jr. and Margaret Gulley
Daniel D. McLamb Louise B. Williams and Richard Silva
Dr. and Mrs. Robert McLelland Ron and Beverly Wilson
Philip and Sue Meyer Dr. Derek and Louise Winstanly
Adele F. Michal Bill and Amy Wofford
Charles and Barbara Milone Eliza M. Wolff
John Morrison and Barbara Archer Anonymous
Benny and Ann Morse David and Heather Yeowell
Bob Esther and Emily Moseley in honor of Tom Kearns
Charles Mosher and Pamela St. John Lisa Zannoni
Christopher and Helga Needes
Undergraduate and Graduate
Student Members
($35)
Fernando D. Chague
Keith Glassbrook
Adrian L. Greene
Laura Hamrick
donors
Janice Dodds
Linda and Mike Dore
Doris Downing
John Duckett
in memory of Ralph B. Garrison
Noel and Shelby Dunivant
Ramona Dunlap
Ryan Ebright
Alison Linas
Ray and Mary Ann Linville
Peizhu Liu
Monique Lockett
George Logan
Elizabeth Lokey
Kenneth Lorenz
Young Kyung Lyoo
Amy Soyeon Kim
Ralph and Audrey Edwards Jheanne Malit
Michael Krouse
Susan Egnoto Dr. Patrick T. and Elaine L. Malone
Joseph Harrison Lee
Anonymous Raleigh Mann
Charles McLaurin
Baynor Elston Emily Turner Marsland Class of 2010
Christopher Nickell
Matthew Ewend Timothy Mason
Temple Northup
Katherine Fitch Clare Matti
Lily Roberts
Elizabeth Flake Lawrence McCabe
Jamie Serkin
Elisabeth Fox Paul McCarthy
Lauren Schultes
Matthew Franke Emily McCloy
Evan Shapiro
Anna Freeman Deborah McDermott
Emily Simon
Susan Gallinari Harriet McGraw
Alexandra Vargas
Bob Garner Sean McKeithan
Natalie Watanasiriroch
Butch Garris Timothy and Roisin McKeithan
Yoo Jeong Yang
John and Kathy Gibson Meghan McNamara
Durral Gilbert Laurie E. McNeil
OTHER CONTRIBUTIONS Natasha Gillyard Ann Meadows
(Less than $125) Dylan Gilroy Thomas and Sandra Meyer
Martha Alexander Mary Kirk Goeldner Andrew Miklos
Meg Alexander David Goodman Julie Mikus
James V. and Maria Del Mastro Allen Carl and Anne Granath Charles Miller
James and Susan Anthony Russell and Mary Graves Robert Millikan
Tony Armer Kelsey Greenawalt Christian Moe
O. Gordon Banks A. Glenn and Carolyn Griffin Paul Morgan
Arnold Barefoot, Jr. Ephraim Gur Paul and Barbara Nettesheim
Michael Barnes Jerry and Kathryn Gurganious Laura Newman
Eddie and Joan Bass Richard Hardy Michael Nutt
Zane Beckwith Wade Harrison Larisa Oktyabrsky
Barbara E. Bergquist Olivia Lawton Henderson Ryan and Hannah Ong
Pat and Thad Beyle Susan Henley Jerry Oster
Mr. and Mrs. D.A.Birnbaum Joyce Williams Hensley Iris L. Padgett
Jerri Bland Brian Edward Hill Monica Pallett
Kelly Stowe Boggs Jonathan Hill Robert C. Paterson
Michelle M. Bordner Alison Sue Rose Hilton James Paul
Donald Boulton Rosemary Holland Marilyn Pfefferkorn
M. Blair Bowers Howard Holsenbeck Mallorie Price
Michael Brady Class of 2010 James and Elizabeth Hooten Veshana Ramiah
Renae Braddy Kathleen Hopkins Catalina Ramirez and D.J. Dore
Hope Breeze Mitchell and Deborah Horwitz Patricia Ramos Class of 2010
Robert Brinkley Julia Howland-Myers Emily and William Ray
Ellen Smith Broad Marc Howlett Jacob Reardon
Teresa Broome Rife Hughey III Robert Reed
Virginia Brown Michael Iwanski and Deborah Maloney Mary Regan
Aimee Peden Burke Mohamed Jalloh Anthony and Terry Reger
Jennifer Butler Drs. Everette James and Nancy Farmer Hallie Ringle
Dana Cain Jonathan James Maureen J. Robinett
Steven Cann Charles Jeffers M. Burdette Robinson
Jennifer Cantwell Wood Melchee Johnson John Rosenfeld
Christy Cappelletti Mike Johnson Barbara Rowan
Margaret Carmody Chip Johnston Eric McKinley Sain
Dulce Castillo Charles Kahn Sara Satinsky
Billy Chow and Penny Oslund James Kalagher Emily Scarborough
Sandra Cianciolo Jonathan Karpinos Leah Schinasi and Ghassan Hamra
Dianne Clinton John and Joy Kasson Eric Schlotterbeck
George Collias Nathan Katzin Marisa Sears
Linda Convissor Laura A. Keenan David and Linda Seiler
Sandra Cook John Kennedy Debra Senchak
Linda Cooper Deborah C. Klein Jayana Shah
Kerry-Ann da Costa Andrea Knowlton Sarah Shapard
Jennifer Cox Margot Dodge Kohler Tatjana Shapkina
Andrew Cracker Gregory and Laura Lane Foy J. Shaw, Jr.
Richard Craddock Annette Langefeld Robert Shepard
Michael Crosa Robert and Geraldine Laport Marjorie Shoemaker
Richard Crume Jeffrey Lawson David and Jacqueline Sices
Carlos Cruz Cameron Lee William Siddall
Evan and Elisabeth Dellon Joycelyn Powell Leigh Frances Simms
Dawne Deuterman Sharon Leonard Nikolai Skiba
Hannah Bell Diedrick Madeline G. Levine Page Smith
Caroline Hume Dilweg Gene Liau Dr. Patrick Carlsten Smith

carolina performing arts 10/11 41

 10/11season donors
Wiley Smith
Harriet Solomon Booster John and Joe Carol Thorp
($2,000 - $4,999) Barbara Smith White
Gina Song Susan Bickford
Jacob Spencer Dorothy Shuford Lanier
Patti and Eric Fast Roy Burgess Brock
Mark Steffen Maria Browne
Stephen Stimpson Paula Flood
Robert Marion Daniel
Josephine Stipe Elizabeth Chewning Deacon
Cheryl Stone Donor Woody and Jean Durham
Stuart Lee Stroud (Less than $2,000)
Richard B. Lupton
Sally Swanson John and Martha Hsu
G.W. McDiarmid
Annie Talbert Knox Massey Family
Melanie Ann Modlin
Barry and Margaret Teasley Wyndham Robertson
Stephen Andrew Oljeski
Jennifer Tenlen John and Marree Townsend
Kenneth Lawing Penegar
Rod Thompson Patricia Derian and Hodding Carter
S. Davis and Katherine Phillips
Caroline W. Treadwell General and Mrs. Arthur W. Clark
William and Cathy Primack
John Trexler Eleanor and James Ferguson
John Allen Quintus
Chris Trull Mimi and James Fountain
Bev Saylor
in honor of Erika Barrera’s 25th Birthday Dr. Joan C. Huntley
Patti and Holden Thorp
Carol Tyndall Kimball and Harriet King
David Venable
Rachel Van Patten Anne and Mike Liptzin
Ruth Ann Woodley
Barbara Vance William and Sara McCoy
Meredith Bryson
Jay and Leslie Walden Michele Natale
in honor of Sandra Hardy Bryson
Daryl Farrington Walker Deborah and Ed Roach
Hannah Kennedy Albertson
Brendan and Tamara Watson Andrew and Barbra Rothschild
Robin Lenee Broadnax
Wheaton Family Ernie and Mary Schoenfeld
Susan Ferguson
Rebecca Wheeler Alan Clements Stephenson
Jonathan and Deborah Goldberg
Marguerita Whitney Kay and Van Weatherspoon
Margaret Ferguson Raynor
Tammy S. Womack Tom and Lyn White
Alan Welfare
Robert Wirth Doug and Jacqueline Zinn
Dawn Andrea Lewis
Brent Wissick Florence and James Peacock
John Atlas Pendergrass
Peter and Joan Witt Lewis Niles Black
Elizabeth A. Ayers
Sarah Younger Class of 2010 Leslie Anne Bunce
Elizabeth H. T. Efird
Dr. James W. Crow
Carolina Performing Arts M’Liss and Anson Dorrance
Planned Gift
Staff Contributions Jane Ellison
Mrs. Frederick A. Fearing Scott Garcia and Debbie McDermott
Kelly Stowe Boggs
Michelle M. Bordner Rose Marie Pittman Gillikin
Priscilla Bratcher Joan Heckler Gillings
Jennifer Cox
Butch Garris
Carolyn Bertie Goldfinch
Wade and Sandra Hargrove In Memory of
Elizabeth Wright Kearns
Melchee Johnson Mrs. Frank H. Kenan
Mike Johnson Jeanette C. Kimmel
Emil Kang Walker Long
Josie Ward Patton
Harry Kaplowitz The following donors have designated their gifts
Sean McKeithan Earl N. Phillips, Jr.
Rebecca and Rick Rosenberg in memory of Elizabeth “Betsy” Kearns, patron
Daniel D. McLamb
Meghan McNamara Ms. Marjorie Moses Schwab and friend of Carolina Performing Arts.
Mark Steffen Mark Sidell
Mrs. Sidney Siegel
Tammy S. Womack Mrs. Mary Louise Burress
Jane McKee Slater
Eliza M. Wolff and Mr. John Woodfin Burress III
SPECIAL THANKS Dolores Bilangi Woody and Jean Durham
Dr. Marcia Anne Koomen Robert and Mary Ann Eubanks
TO OUR SPONSORS Teresa Prullage Paul Fulton
Elite Coach K. Dean Amburn
University Florist William D. and Dr. Sally C. Johnson
Judith and Allen Barton
John and Barbara Chapman
Mr. Thomas S. Kenan III
Richard Craddock Knox Massey Family
Sharon M. Emfinger William and Sara McCoy
STUDENT TICKET ANGEL Sandra Fisher Josie Patton
FUND CONTRIBUTIONS John W. Fox Wyndham Robertson
Received as of August 1, 2010. R. McDonald Gray III
Mark W. and Stacey M. Yusko
Tim Hefner
Angel George R. Hodges and Katherine W. Hodges
($25,000 and above) Sharon May Kessler
Robert and Mary Ann Eubanks W. Cooper and Lorie Lewis
O. Kenton and Carol McCartney
Patron Anonymous
($5,000 - $9,999) Foy J. Shaw, Jr.
Mr. Thomas S. Kenan III Nancy Howard Sitterson
Tom Kearns Warren and Sara Sturm

www.carolinaper formingar ts.org

(919)843-3333
carolina performing arts 10/11 43

When I first came to Carolina, I had resigned
myself to the daunting realization that my
world, once full of highways, late-night adven-
tures and speeding cars, was what poet and
playwright Ntozake Shange called “a Universe
of Six Blocks.” From Franklin to Church Street,
the life I knew had suddenly disappeared into
the humble hands of Chapel Hill.
“Carolina Performing
Arts brings a universe
of its own to the
Carolina campus,
allowing students and
community members
to explore the world
without leaving our
own backyard.”
After my first semester, I quickly realized that
the “Freshman 15” referred to how much
money I’d have in my bank account on a regu-
lar basis. Without a car or a relevant source of
income, I was relegated to on-campus events
that I could attend without the guilt of having
to force my parents to take out a second mort-
gage. A friend of mine invited me to a concert
at Memorial Hall, and it was the first of many
performances with Carolina Performing Arts
that would encourage me to think critically
www.carolinaper formingar ts.org
(919)843-3333
STUDENT
STUDENT VIEW VIEW
Jamila Reddy
about art and my own identity, push me to Theater bring grown men to tears. From
literally and figuratively expand my universe opera to spoken word, Carolina Per forming
beyond Chapel Hill, and allow me to be a wit- Ar ts brings a universe of its own to the
ness to the beauty of the human experience Carolina campus, allowing students and
and the transcending power of performance. community members to explore the world
without leaving our own backyard.
Looking at the audience in Memorial Hall,
it’s easy to see that basketball isn’t the Jamila Reddy (’11) is studying Sociology
only thing on this campus that brings at the University of Nor th Carolina at
people together. The ar tists at Memorial Chapel Hill.
Hall engage audiences of all demograph-
ics. They speak to what students, alumni
and visitors know as the “Carolina Spirit.”
The season offers students a diverse array
of per formances at a mere $10 a show,
providing an affordable and accessible
means by which students can experience
a multitude of ar tistic and cultural events.
From break-dancing, beat-boxing poets to inter-
national playwrights, I have spoken to artists
on a personal level and been able to connect
with them not just as artists, but as people. Not
only does Carolina Performing Arts serve as
entertainment, it allows students and commu-
nity members to ask questions, to listen, to re-
spond, to truly and fully engage with the art and
the artist.
This past year, I received a student ar ts
grant from the Office of the Executive
Director for the Ar ts to produce Ntozake
Shange’s For Colored Girls Who Have
Considered Suicide When the Rainbow is
Enuf. I can say without a shadow of a doubt
that this experience changed my life. Not
only did I have the oppor tunity to grow and
learn with a cast of seven phenomenal
women, but I was able to play a role in
telling the stories of people whose stories
are told often but not heard enough. I never
thought I’d be able to personally attest to
Maya Angelou’s sharp humor, or to be able
to say that I saw Alvin Ailey American Dance
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carolina performing arts 10/11 45

 LAST WORD
the last word
Winston Crisp
The Carolina Performing Arts series is an integral part of the trans-
formative experience that Carolina provides to thousands of young
people each year. As a wonderful part of the overall commitment to
the arts at Carolina, it is a wonderful showcase for culture and the
expression of human creativity and imagination.
While many people tend to think of a university as a place for students
to come to take in knowledge in preparation for life after college, I
am not sure how many fully realize the importance of the arts to this
endeavor. As the Vice Chancellor for Student Affairs, I am responsible
for leading the fine people who strive to ensure that each and every
one of our students has the best possible environment in which to
study, mature, and find their voices for the life awaiting them. The
fine people in Student Affairs help to give them shelter, keep them
safe and healthy, explore their identities and desires for the future, as
well as helping them stay focused on their academic pursuits. These
“We are lucky here at Carolina to enjoy access
to the arts on many different levels.”
jobs are made immeasurably easier because of the presence of the
arts. The arts allow our students to explore their imaginations, feed
their curiosity about life and culture, and expand their cultural and
intellectual horizons on many levels. Engaging in the arts helps them
to explore the very notions of who they are and who they want to be
as well as providing food and nourishment for their souls. We are lucky
www.carolinaper formingar ts.org
(919)843-3333
here at Carolina to enjoy access to the arts on many different levels.
From classes and extracurricular programming to the fine series on
the stages of Memorial Hall and other fine venues on campus, our
students have the opportunity to immerse themselves in all that the
music, drama, art, literature, poetry and other forms of art we host
have to offer.
One of the hallmarks of the Carolina student is the ability to be both
smart and driven, while maintaining a commitment to service and to
making the world a better place. Our students are remarkable in their
capacity for dreaming of a better community, a better North Carolina, a
better nation, and a better world. They work tirelessly to discover new
methods for thinking about the problems of our time. They constantly
amaze with their creativity and passion. They are innovative in their ap-
proach to solutions and collaborative in how they relate to each other.
The arts have much to do with helping them to do all these things.
Thank you for supporting the arts at Carolina. By doing so, you are
supporting much, much more. You are supporting our future.
Winston Crisp is the Vice Chancellor for Student Affairs at the University
of North Carolina at Chapel Hill.
East 54

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